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Get Out could have been a very amusing movie, but Jordan Peele correctly perceived that in this era there is big money in supplying audiences with their politically correct racial hate uncut with much in the way of wit. People don’t want intelligence in 2017, they want anti-white animus. …

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge.

There are many scary things about the movie, but scariest of all is its realistic depiction of racism.

by KENDRA JAMES
Feb 28, 2017

Major spoilers ahead.

In Get Out, writer-director Jordan Peele takes 90 minutes to meditate on a lesson Kim Kardashian once spelled out for America via snake emojis and Taylor Swift: White women are not to be trusted.

… Peele brings Get Out to a higher level of horror, at least for any person of color in the audience. We’re all keenly aware of how possible it is.

The film begins with Chris (Daniel Kaluuya) traveling home for the weekend to meet his girlfriend Rose’s (Alison Williams) parents who live on the set of a horror movie — excuse me: in a secluded, wooded, mostly white suburb. …

It’s a literal and visual representation of building a better life in America on the backs of the subjugated.

As the plot unravels, it seems that Rose is willing to take Chris’s suspicions seriously and, as the title indicates, get out. …

But here, condensed into one 10-minute span, I recognized the sinking feeling of being betrayed by a white woman you’ve stanned for, loved, liked, or even simply been mildly okay with. …

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise. For others it’s finding out that Taylor Swift’s been coasting on America’s fear of black men for years. I feel it every time I realize there’s a white women on my Twitter timeline who will tweet in earnest for Planned Parenthood while sparing only a perfunctory tweet for Black Lives Matter or the Standing Rock Sioux. …

Jordan Peele is married to and expecting a child with a white woman, Brooklyn Nine-Nine’s Chelsea Peretti. He’s also biracial; his mother is white. …

White women have always played, and continue to play, a large part in upholding the supremacy. They have not held the best interests of people of color. Putting full trust in them has often been to our detriment. Rose’s willingness to put herself and, essentially, the survival of white bodies above the well-being of black people was as unsurprising as it was terrifying. In Get Out, whiteness trumps all, and the true horror is leaving the theater knowing that, in this case? It’s not just a movie.

This essay seems like the kind of thing you didn’t see all that much of before about Obama’s second term. This was in Cosmo, for heaven’s sake. This kind of naked racial hostility was less socially encouraged before about 2012 or 2013.

I’d liked to see the audience breakdown by race. I can’t see sane non-blacks (let alone whites) going to see something like this. I also can’t see this being a commercial success overseas (e.g. East Asia) where good-looking white actors/models move a lot of merchandise.

I'm sorry Ole' Twinkster; you're old, and I'm afraid living on the Appalachian trail has put you out of touch...

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

My girlfriend says blond/blue-eyed is less popular than it used to be (in Japan), and indeed I see some evidence of young people trending toward interests in the fashions and interests of minorities. (This is really scary to me. If East Asia reverses and replaces its "shiro-philia" with Euro/American attitudes to race, it's going to be a difficult slog for my kind, although I guess you get a pass.)

My point is that, since entertainment serves as both business and propaganda and these feed off each other, there must occassionally be some liminal period where full profit maximization is not possible from every film, and the release of films like Get Out into an Asian market at this time may indicate Asia is in this kind of period now.

"The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

Combo of leftist, white shaming sermon “United Kingdom” and this Get Out playing nearby.
We have been swimming in this propaganda drek for years now. Get Out looks like a combo of early 70s horror with a Smidge of Cronenberg, Shyamalan drenched in Hive paranoia of Evil whitey.

Still waiting for some flics on the plight of whites when victimized by nonwhites in Haiti, Zimbabwe, South Africa, USA, and now urban Europe. How about about some documentaries on the Holodomor, the Amenian Genocide, and Stalin’s gulags. How about something truthy on Che & Castro, 1956-65. Lots of history remains off limits when it doesn’t suit the narrative.

And the Media-Edu complex still bleats that White establishment still marginalizes African American perspectives. Looks more like an advanced psy-ops program to villify whites, and pathologize their self-interest in an era when only nonwhite Identity politics will be tolerated.

go see the film "No Escape". This was one of the best films of 2015 and showcased the dangers of being white in an Asian nation. Stars Owen Wilson. The film was criticized for being racist.
It is worthy of your movie dollar. Note though that for those adversely affected by films about children in peril and/or about serious sexual assault, this might be one for you to miss. The bottom line is that this film is tense. On the 'tenseness scale', we go right through 'clenching the armrest' right up to 'hands in the hair' tense at times, and there is little relief from after the action really kicks off. As a result, this is quite an exhausting watch.

With so many of the movies I see commercials or trailers for, I’m left wondering, who would be entertained by this movie? Is this finally showing up in the box office numbers? It wasn’t this way until the last few years.

Those who grew up learning American history from people who were not so much teachers as preachers, and what they preached was a gospel that claimed America was only about injustice, oppression, bigotry, and animosity toward minorities.

Perception is reality. Listen to the early Beach Boys and the world feels like a sunny day. Get told enough times that the country was built on hate and oppression and you see things permanently as if it's 1965 in Selma. Those kind of people will take to this movie, because their day-to-day reality is at odds with what they were taught and they need something to confirm what they believe.

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn’t.

Hunstville is 31.2% Black......

As of the census of 2010, there were 180,105 people, 77,033 households, and 45,416 families residing in the city. The population density was 857.6 people per square mile (332.7/km2). There were 84,949 housing units at an average density of 405.3 per square mile (156.9/km2). The racial makeup of the city was 60.3% White, 31.2% Black or African American,

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of “frontin’” and “keepin’ it real” wherein they fantastically or vicariously try to “pass” as hard-core brothers fightin’ the man who’s trying to keep ‘em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the “Obama anger translator” bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don’t know what’s behind this, if it’s a performance they do to reassure themselves that, deep down, they’re still really black enough, or if it’s done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It’s basically a sort of “internalized minstrelsy” though.

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

It gets suppressed in the official narrative about race in the U.S., but light-skinned blacks and biracial blacks get a lot of grief and rejection from the larger black population. There are two ways to deal with this - say "to hell with it" and integrate better into general society, or prove your allegiance by being the most abrasive, radical members of the black population. Obama successfully made a transition from the former to the latter when he moved to Chicago, calling an audible on his prior act in Hawaii/Columbia as the affable black fellow who wasn't angry.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of “frontin’” and “keepin’ it real” wherein they fantastically or vicariously try to “pass” as hard-core brothers fightin’ the man who’s trying to keep ‘em down on the plantation, or something.

Nailed it Thomas. This is black privilege trying to feign the anger of those Black people who legitimately HAD the kind of experiences that would create this kind of "anger." The last thing we need in this country is Black women generalizing about the evils of "White" women. Get over yourself.

Undercover Brother: Are you telling me there really is a Man’?
Conspiracy Brother: What do you think? Things don’t just happen by accident! Sometimes people – mostly *white* people – make things happen!
Undercover Brother: So the conspiracies we’ve believed for all these years are true? The NBA really did institute the three point shot to give white boys a chance?
Smart Brother: Absolutely!
Undercover Brother: Then the entertainment industry really *is* out to get Spike Lee?
Conspiracy Brother: Come on man! Even Cher’s won an Oscar! Cher!
Undercover Brother: Then O.J. really didn’t do it?
[Everyone looks away and mumbles]
The Chief: We… we ain’t got time for this!

Combo of leftist, white shaming sermon "United Kingdom" and this Get Out playing nearby.
We have been swimming in this propaganda drek for years now. Get Out looks like a combo of early 70s horror with a Smidge of Cronenberg, Shyamalan drenched in Hive paranoia of Evil whitey.

Still waiting for some flics on the plight of whites when victimized by nonwhites in Haiti, Zimbabwe, South Africa, USA, and now urban Europe. How about about some documentaries on the Holodomor, the Amenian Genocide, and Stalin's gulags. How about something truthy on Che & Castro, 1956-65. Lots of history remains off limits when it doesn't suit the narrative.

And the Media-Edu complex still bleats that White establishment still marginalizes African American perspectives. Looks more like an advanced psy-ops program to villify whites, and pathologize their self-interest in an era when only nonwhite Identity politics will be tolerated.

I'm coming to believe that the full court press on Whitey is both a race-parallel to the Left's tranny obsession (both are apogees of false consciousness in Leftism and a signal of trend reversal) and exactly what you'd expect to see plant the seeds of the Next Big Trend in race relations: whites give up on the Universalist religion en masse and we see a tsunami of "enough-is-enough" move the USA's populace so hard to the right that most zealot-leftists mysteriously die of neck trauma from whiplash.

If this view is correct, I'm rather satisfied with all this "kill whitey" stuff. It makes personal security decisions a lot more black-and-white, i.e., simpler.

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

A few years ago black women caught on that a lot of the black actors that they supported don't want to date or marry black women in real life. A small but vocal group of black women have called for boycotting projects that these men are in. Apparently Peele got the memo and tossed the bone.

Michael Ealy's marriage to an Afghani woman was an unwelcomed shock to black women and he even hid the birth of his son for several months. Omari Hardwick had to defend his white wife from online attacks calling her ugly. When Dwayne "The Rock" Johnson appeared on the cover of Essence to promote a project, it was painful when they asked him what he liked about black women since he doesn't date them.

By coincidence, I thumbed thru Cosmo on Monday at the doctors. After considering the "Sex Position of the Month" feature, LOL, I noticed the endless photos of young, beautiful couples in bed games. They featured gorgeous young white women and handsome men of color: swarthy, dark skinned, vaguely "Arab" or Middle Eastern men, or made up to look so. Not just one for token diversity. One after another. Hot, say the Cosmo editors, I guess.

I don't understand this. I could see this kind of anti-white animus in Ebony but Cosmo is mainly a magazine for white girls. Why would a white person pay good money to see herself accused of being a white supremacist?

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary’s Baby, but it takes Steve Sailer to notice the anti-WASP angle……And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn’t want Blacks to start thinking unkind thoughts about Jews…..

cherchez la femme: And I also suspect that Jordan Peele wouldn’t want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams…..which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as “grandpa”, tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable…. provided that it’s a Black man dishing it out on a WASP….

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh's character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins).....

Even though THE GRADUATE conveys certain Jewish neurosis, I don't see it as anti-gentile or even anti-wasp. It's a movie about obsession, and everything at odds with Ben's obsession seems alien and hostile. Ben doesn't get along with anyone, even those who are trying to be nice to him. He shuts out everyone at the party. He shuts out his parents. He shuts out Mr. Robinson who treats him like a son. He does open up to Mrs. Robinson, and in loyalty to her, shuts out Elaine. But when his heart goes for Elaine, he shuts out Mrs. Robinson. His current obsession is the ONLY reality. And so everyone at odds with his obsession-of-the-moment becomes the 'new hitler'. He can't even stand hip young people at the hamburger joint cuz they're playing the music too loud and messing up his gab with Elaine. And Richard Dreyfus and Norman Fell, who don't look waspy, are also at odds with him. (Fell's character of McCleery is one of my all-time fav's. We need more men like to put the young ones in place. "You're not one of those agitators... I hate that. I won't stand for it." Damn boomers got rid of the McCleeries of the world.)

https://www.youtube.com/watch?v=-nJ8ea6smKQ

True, his final mission goes up against a the makeout king of a wasp fraternity, but I think even those who root for Ben know what a loon he is. What he does is insane.
Also, if there is a villain(ess) in the film, it is Mrs. Robinson, and her role isn't very waspish. She likes act Susan Sontag if she'd been relegated to being a housewife. She certainly doesn't stand for 1950s wasp repression and family values.

THE GRADUATE is something of a comedy, but its obsessions are too deep for the film to be fully comedic. Besides, if Woody Allen began in comedy and went serious later, Nichols, despite his comic background, plunged into European Art House style from the start. So, the result is like sitcom crossed with Antonioni movie, like Dick Van Dyke Show doing mock-tennis with BLOW-UP. And the emotions in THE GRADUATE have an element of sincerity(if of the mad king), and 'sounds of silence', 'april come she will', and 'scarborough fair' on the soundtrack supply the melancholy, alienation, depression.

Though considered dated by some, it still looks futuristic, like 2001: A SPACE ODYSSEY. It is like sci-fi fantasy of suburban life. And this futurism is tied closely with whiteness, something that California lost as it went for Diversity. It now looks like futurist-nostalgia.
THE GRADUATE, like AMERICAN GRAFFITI and BIG WEDNESDAY(and HAROLD AND MAUDE), is a memory trip of how California once used to be. And yet, because they are about youth facing the future, dawn of a radical new era, they are comforting and exciting at the same time. It's like returning to certainty of uncertainty.

THE GRADUATE is a key film, situated somewhere between PSYCHO -- the editing of nude Bancroft recalls shower-scene editing in the Hitchcock film(Nichols also took some pointers from Welles' THE TRIAL) -- and THE GODFATHER. (They should do a fusion movie called THE GRADFATHER where a son of a mafia boss graduates and is given advice about 'just one word... cement'.) Ben and Michael follow a similar trajectory. Both are young, out of school, and worried about their future. Difference is Michael grew up in a more strongly defined cultural setting, and he even makes 'aliyah' to Sicily. Also, an attempt was made on his father's life, and he got socked in the jaw. He also served in war. So, he got toughened up. He was able to put away childish things. In contrast, Ben had it nice and easy all his life. His parents were always there. But there was nothing particularly cultural or ethnic about the family. Ben doesn't know what he is other than a student and consumer and future professional. Also, no one tried to kill his pa. And Ben didn't have to serve in war, like Norman Mailer who was deeply marked by war. So, the film is about a man searching for meaning and finding true love through the oddest set of circumstances. We are not even sure if he's really in love with Elaine or with the emotions of a particular moment with Elaine. It may be more about how she made him at a certain moment than herself. (They don't really get to know each other like Oliver and Jenny in LOVE STORY.) It's like we're not what exactly Scotty fell in love with in VERTIGO. Love creates its own myths, and the power of myth derives from unattainable-ness. Once attained, the meaning changes or is lost ... and final scene where Ben has won Elaine has him falling back into the question of what life is all about.

THE GRADUATE is ultimately memorable for the look, mood, and music. Nichol had the right touch. Its mood-ism had big influence films such as THE SWIMMER(clumsy but nice try), HAROLD AND MAUDE, LOVE STORY, RISKY BUSINESS, SOMETHING WILD, MIDNIGHT COWBOY, ONE FLEW OVER THE CUCKOO'S NEST, and later the TWILIGHT movies(which have nothing going for them but look and mood). Some films aped THE GRADUATE, just like so many gangster or political films aped THE GODFATHER. The adaptation of Ellis novel LESS THAN ZERO is prolly the biggest copycat movie of THE GRADUATE. Doesn't work though not entirely worthless.

Nichols wasn't exactly original and copped ideas & styles from others, but he fused the right elements in right doses in the right way to create something singular. In some ways, his crafty wit even pushed him beyond the masters he admired. While Nichols couldn't have conceived of L'AVVENTURA, it's also true Antonioni couldn't have made something so artful and entertaining as THE GRADUATE even if he tried. (MIDNIGHT COWBOY is another movie that took European art-film elements for conventional narrative purposes, but such 'accusation' could overlook the fact that Schlesinger, in some respects, went beyond what the European auteurs did.) You can see it and note the references and allusions, but there never was and never has been anything quite like THE GRADUATE(with the possible exception of mood-perfect HAROLD AND MAUDE and MCCABE AND MRS MILLER). THE GRADUATE sucks you into more than a story about characters and places. We feel as if in a lucid dream. It's like 3D effect owing to Nichols' mastery of mood. Like a fish inside an aquarium.

Also, it's the little things that make the whole, and THE GRADUATE was crafted with the care of a watch-maker. The camera moves or zooms in and out, swims or sinks in perfect sync with Ben's emotions. If ever a movie captured the mood of a single character, this was it, though Hitchcock led the way with VERTIGO and PSYCHO(it's about Janet Leigh's moods up to the shower scene) and Kubrick with LOLITA. COOL HAND LUKE, another 1967 flick, was also a triumph of singular mood, in some ways all the more remarkable since it's about a man locked up with other men. Because THE GRADUATE is always about Ben's moods and hangups, the effect is rather like BEING BENJAMIN BRADDOCK, variation of Malkovich. It's like we put on scuba-gear and dove into Ben's soul like in FANTASTIC VOYAGE.

There had been movies with strong personalities and passions, but the Hollywood system insisted on a certain house style, and prior to the 60s, it was near-impossible for any director to make something truly singular, or 'different', as Braddock might say. Even a film as personal as VERTIGO has much of the Classic Hollywood look that Hitchcock had to adhere to and had grown accustomed to. It could go halfway in personalism but not fully. So, even a landmark film like REBEL WITHOUT A CAUSE or SPLENDOR IN THE GRASS looks conventional and familiar. Things really began to change in the 60s, and THE MANCHURIAN CANDIDATE was one weird movie. No movie had felt that 'off'. The difference was its sense of ease with strangeness(despite being about military men), as was the case with DR. STRANGELOVE. The weirdness wasn't recognized or targeted as the Other or Alien but part and parcel of the pervasive reality.
Because THE GRADUATE depended so much on mood, every little thing mattered. A physical-centered movie can have bunch of missteps. Raw reality can survive disruptions, like in Cassavetes films. But mood is like hypnosis, a trance. It has to be maintained without skipping a beat, and that was Nichol's great achievement from the very opening shot of the film. It was all the trickier since Ben's story has bumpy rides with sexual affairs, comic moments, and a wild chase. From the plane ride to sitting alone in the bedroom, the disaffected mood came naturally. But when Ben has to join the party, the setting changes drastically, so how is the mood maintained? Nichols keeps with the close-up of Ben amidst the guests with whom he mingles but won't yield to. The close-up is like a portrait of a turtle hiding in the shell even as it's passed around from person to person. And the deadpan responses have an element of droopy zen. Ben is odd, meditative and manic, sometimes meditative about what is manic, sometimes auto-hypnotized in manic drive. Nicholas managed to capture these consistencies and fractures, no easy feat. And he did this with sensitive attention to minute details and moments, the crucial turn of the screw that fixes the frame. (Surely, his work in comedy taught him about timing. Not just for comic effect but dramatic or poetic effect.)
Consider the moment when Ben visits Berkeley. First we have this meditative following of Ben though the campus, and then, a sudden zoom-out disrupts the calm. But the song and Ben's obliviousness to the changes of time-lapsed scenery maintain continuity of mood. Then Ben turns around and spots Elaine through the waterfall. The jolting zoom-in rattles and intensifies the mood. The very threat to the mood fuels the mood. Elaine is what holds everything in him together, she is what is tearing everything apart in him. Few films have caught so well the duality of love as the calming and tormenting force in life. A timeless theme in art, few artists of cinema mastered the technique to convey it poetically.
The most memorable example of Nichols' shuffling of trance and mania is Elaine's discovery of the affair between Ben and her mother. Ben's hectic run through the rain is dreamlike, and when the truth dawns on Elaine, her fuzzy out-of-focus image gradually crystallizes into clarity. Few uses of cinematic technique so effectively and poetically conveyed a person's state of mind. If HAL the computer had a mind of its own, Nichols' lens developed emotions of its own.
Elaine loses it and throws Ben out; the violence of the moment threatens to the break the mood, but there is Mrs. Robinson waiting in the hallway in an iconic Antonionesque image bidding farewell to Ben. Also, it was a clever move to show the closeup of Mrs. Robinson as Ben is being thrown out before returning to it again. The more conventional thing would have been to show Ben thrown out and then show Mrs. Robinson's head pressed against the wall. But fixing on Robinson's calm demeanor(of bitter defeat and victory) as Elaine's screams are heard and then returning to it(after cutting to a dejected and humiliated Ben) and finally zooming out to show the irrevocable distance between her and Ben is one of the great coup de graces of cinema.
THE GRADUATE is wonderful to watch because of many such moments. It's beyond well-crafted. It's inspired, the one time genius touched Nichols in cinema. So, people who tend to dismiss the movie because of its story or themes are missing out so many thing that make cinema so special.

https://youtu.be/MCa9vtTvQpE?t=1m34s

As for STEPFORD WIVES, that too is a multi-layered film. It can be seen as a feminist screed but also as a woman's fantasy. After all, it's the sort of movie that appeals far more to girls than to men. When my older sister was coming of age, she was obsessed about two films: CARRIE and STEPFORD WIVES. She and her friends were always talking of CARRIE even though they hadn't seen it. What it was ABOUT was enough: psycho-physical changes wrought by puberty, the politics of peer pressure. Also, because it was about an all-white environment(as with STEPFORD WIVES), it had an extra element of Euro-exocitism because we lived in the city that was, in late 70s, filled with diversity from all over the world. There were whites, but also everyone else --- Negroes, Hispanics, Asians, Arabs, Hindus, etc --- , so what seemed normal in a white suburbs seemed 'different' to those in 70s urban jungle, the kind you see in TAXI DRIVER. Later CARRIE came on TV. This was before videotapes and stuff.
STEPFORD WIVES used to play on late night TV, and my sister ate it up, and her reactions was instructive. On the one hand, she watched it as cautionary horror about imprisonment of women. But on the other hand, she was luxuriating in the beauty, luxury, and style of these Stepford ladies. Feminism may be about the sisterhood and power, but it turns women into overall-wearing harridans with no manners. But in Stepford town, women can be goddesses, dressed so fine, so beautiful, and so well-mannered. People like my sister grew up on feminism and fashion magazines. She read GONE WITH THE WIND twice in a row, and she loved that it had a strong heroine who also happened to be very feminine.
This is why the scene in DAZED AND CONFUSED is so funny. The discussion about feminism and fantasy in the girls' washroom. Linklater gets the contradictions. Women want to be 'empowered' but also to be noticed and admired. What's hilarious is even the feminist girl is so fashion-conscious... like Naomi Wolf later. She dresses just like friends who try to look sexy. She complains about the sexual-stereotyping of women, but her view of men is hardly any more enlightened: 'geek, fat over aged guy', nerdy scientist...'. She sounds like she wants stepford men.

https://youtu.be/MbRhuUtKHV4?t=47s

STEPFORD WIVES came out when overall-and-hanky-on-head feminism was all around. But then, feminism changed into corporate harlots wearing fancy stuff and shameless rise of sex goddess and slut culture. The wild success of TWILIGHT shows that lots of young girls want to become stepford vamps to be gorgeous forever.

Undercover Brother: Are you telling me there really is a Man'?
Conspiracy Brother: What do you think? Things don't just happen by accident! Sometimes people - mostly *white* people - make things happen!
Undercover Brother: So the conspiracies we've believed for all these years are true? The NBA really did institute the three point shot to give white boys a chance?
Smart Brother: Absolutely!
Undercover Brother: Then the entertainment industry really *is* out to get Spike Lee?
Conspiracy Brother: Come on man! Even Cher's won an Oscar! Cher!
Undercover Brother: Then O.J. really didn't do it?
[Everyone looks away and mumbles]
The Chief: We... we ain't got time for this!

This movie stars Allison Williams, the daughter of the famous journalist fantasist and former TV star Brian Williams. Williams, when asked about his daughters acting career and her role on HBO’s “Girls”, said he was very proud of her. That role included her portraying a deviant sexual act that is typically only seen in the sleeziest of pornos.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of "frontin'" and "keepin' it real" wherein they fantastically or vicariously try to "pass" as hard-core brothers fightin' the man who's trying to keep 'em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the "Obama anger translator" bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don't know what's behind this, if it's a performance they do to reassure themselves that, deep down, they're still really black enough, or if it's done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It's basically a sort of "internalized minstrelsy" though.

,
I wouldn’t put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you’re definitely right about how privileged blacks become social radicals to prove they’re authentically black.

True, Coates is a little more authentically downscale than the archetype (he also didn't land in comedy or law, and had to basically fall back entirely on professional blackety-blackness as a "journalist").

Another great example: Aaron McGruder, creator of Boondocks (raised in a planned community in Maryland, father was with the NTSB, Jesuit high school and U. of Maryland degree in African American studies). Though he proved even too angry, left-wing, and unstable to ride this gravy train too far.

I wouldn’t put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks.

ho hum, here we go again. White people who are too lazy to Amish-up, looking for excuses to feel sorry for themselves.

We make movies for black audiences to feel good about themselves with, because it produces multiplex revenue streams for those of us who know how to do it.

You got a problem wid dat, Guido?

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn't.

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn’t.

Hunstville is 31.2% Black……

As of the census of 2010, there were 180,105 people, 77,033 households, and 45,416 families residing in the city. The population density was 857.6 people per square mile (332.7/km2). There were 84,949 housing units at an average density of 405.3 per square mile (156.9/km2). The racial makeup of the city was 60.3% White, 31.2% Black or African American,

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

https://en.wikipedia.org/wiki/Chelsea_Peretti

**https://en.wikipedia.org/wiki/Get_Out_(film)

the uber-WASPy Allison Williams…

Her Williamses are Micks.

the thematic overlap with stuff like The Stepford Wives and Rosemary’s Baby

Something tells me this Jordache Peele might be a fraction of the writer Ira Levin was. So we’re safer on those grounds.

Ethnicity:
*Irish, as well as Swedish and German (father)
*English, Scottish (mother)

Allison Williams is an American actress, comedian, and singer. She is the daughter of TV producer Jane Gillan (Stoddard) and newscaster Brian Williams (Brian Douglas Williams). She is married to entrepreneur Ricky Van Veen.

Her father has Irish, as well as Swedish and German, ancestry. Her mother has English and Scottish ancestry.

One of Allison’s maternal great-great-great-grandfathers was Owen Lovejoy, who a Congregational minister, lawyer, Republican congressman from Illinois, and abolitionist.

Allison’s paternal grandfather was Gordon Lewis Williams (the son of William L. Williams and Jane “Jennie” H. Malenberg). Jane’s parents were Swedish.

Alliosn’s paternal grandmother was Dorothy May Pampel (the daughter of Walter John Pampel and Mary Costello). Walter was the son of Josephus P. Pampel, who had German ancestry, and of Anna C. McManus, who had Irish ancestry. Mary was born in Chicago, to Irish parents, James P. Costello and Julia A. O’Rourke.

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn’t.

Hunstville is 31.2% Black......

As of the census of 2010, there were 180,105 people, 77,033 households, and 45,416 families residing in the city. The population density was 857.6 people per square mile (332.7/km2). There were 84,949 housing units at an average density of 405.3 per square mile (156.9/km2). The racial makeup of the city was 60.3% White, 31.2% Black or African American,

https://en.wikipedia.org/wiki/Huntsville,_Alabama#Demographics

Hunstville is 31.2% Black…

True. But it also has something of an aerospace industry. Maybe Steve’s father should have moved there.

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

Or toss the mothers and wives under a bit of the bus here.

I think that he's got the Italian-Jewish escape clause with his wife. "See, Honey, it's only certain kinds of White women who need to be shot and strangled.....You know, women like Haven Monahan's sister....."

No surprise, anti-White sentiment is very popular, among Whites. Who likes it? White women who HATE HATE HATE their male peers for the unpardonable sin of not being an ultra dominant male in the feminist workplace. White elites whose ancestors made it up the ladder in 1965 and have been kicking the ladder out from under other White rivals as fast as they can. Utopian true believers in denial about the HATE HATE HATE pretty much 95% of Blacks feel for Whites PARTICULARLY half-White Blacks.

And no, the ability to sidestep Black violence is over. Trump rolled over and played cuck like we knew he would, “Comprehensive Immigration Reform supported by Republicans and Democrats” equals just more Open Borders. Instant “Americans” to the tune of what, 200 million? Maybe even 300 million more? There is no place to run to anymore. NONE.

As a side note, Hollywood is purging Whites save pretty young White actresses, who will always be in demand by Black men (since Black women are remarkably ugly). So expect a LOT more of this — Hollywood will roll this stuff out like GM and Ford putting out Pintos and Novas that explode when rear ended. A business stuck on stupid stays stuck on stupid until it goes bust.

Star Wars is pretty much a no-go zone for White heroes now; so expect more Black dudes and White heroines as their love interest. White girls do love that garbage. But what do you expect from them?

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

https://en.wikipedia.org/wiki/Chelsea_Peretti

**https://en.wikipedia.org/wiki/Get_Out_(film)

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh’s character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins)…..

The last celebrated Hollywood fare I watched I think it was exactly "The hateful eight". Awful, disgusting movie. I will never watch anything by Tarantino again.

I basically stopped going to the movie theaters - although I watched "Silence" in the cinema: a pretty good movie, despite some casting errors. I guess Scorsese had to put some famous faces there to make the producers believe that the film could be a hit (it wasn't, of course; it couldn't be with that theme. Although, come to think of it, it also involves a lot of violence by non-whites on whites).

Hateful Eight comes to mind as a prominent example
----
I noticed and was quite disturbed by the level of violence dished out at the "racist" white woman.
Remember what happens after she's hung ? In how many movies are details like that included ?

"And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh’s character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins)….."

That's Mike Damone's girlfriend from Fast Times At Ridgemont High. He was such a stereotypical Guinea character.

“This film is how racism feels,” said Kaluuya. “You get paranoid and you can’t talk about it. You can’t voice it. No one around you gets it, so you can’t speak about it. And in the end it just comes out in a rage.”

Funny. If that’s how he feels about ‘white racism’, why did his people flee from beloved Uganda to come to live in white nations?

As I recall, it was blacks who were actually harvesting black bodies — and still do — in Africa.

Idi Amin was rumored to have been a cannibal.

And white-skinned albinos are killed and sold for body parts.

But blacks and Africans seem to be projecting their cultural pathology onto white people who ultimately ended slavery even in Africa. (Of course, white Virtue Nazis love to wallow in masochism as long as they get to hug themselves as conscientious redemptive whites at war with white deplorables who are still race-nazis instead of Virtue Ones.)
By the way, it was black Africans who also captured blacks and sold them as slaves to whites. And it was in white nation that blacks, even as slaves, had promise of better future.

Jews project onto Russia all the things they are doing in America.
And blacks and Africans project onto whites all the voodoo craziness that happens in Africa.
Together — Jewish money and distribution AND black writing and directing — , they just gave us something 1000x viler than Nazi movie JEW SUSS.

Btw, if white ‘racism’ is paralyzing his black ass, he should go back to black Africa and be with his own kind.

the thematic overlap with stuff like The Stepford Wives and Rosemary’s Baby

Something tells me this Jordache Peele might be a fraction of the writer Ira Levin was. So we're safer on those grounds.

the uber-WASPy Allison Williams…

Her Williamses are Micks.

More of a Northwestern European tapestry:

Ethnicity:
*Irish, as well as Swedish and German (father)
*English, Scottish (mother)

Allison Williams is an American actress, comedian, and singer. She is the daughter of TV producer Jane Gillan (Stoddard) and newscaster Brian Williams (Brian Douglas Williams). She is married to entrepreneur Ricky Van Veen.

Her father has Irish, as well as Swedish and German, ancestry. Her mother has English and Scottish ancestry.

One of Allison’s maternal great-great-great-grandfathers was Owen Lovejoy, who a Congregational minister, lawyer, Republican congressman from Illinois, and abolitionist.

Allison’s paternal grandfather was Gordon Lewis Williams (the son of William L. Williams and Jane “Jennie” H. Malenberg). Jane’s parents were Swedish.

Alliosn’s paternal grandmother was Dorothy May Pampel (the daughter of Walter John Pampel and Mary Costello). Walter was the son of Josephus P. Pampel, who had German ancestry, and of Anna C. McManus, who had Irish ancestry. Mary was born in Chicago, to Irish parents, James P. Costello and Julia A. O’Rourke.

It doesn't matter that BIRTH OF A NATION flopped at the box office. As I predicted, the library here in the Peoples' Republic has 6 copies and 77 people are on the wait list to see it. I'd bet anybody $100 that the same thing is happening all across the country.

I saw the trailer for Get Out several times on TV and could tell that it sucked.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won’t be killed or beaten by them. Blacks, etc. are turning on a natural ally.

A white "beta" male is just a man who has been civilized. When he was a kid he was as wild as any black boy. At some point in his upbringing, he began to respond to authority when he was called to account for the damage his wildness caused. His "beta"ness represents the dawn of forward thinking in his personality. Most white women "finally conclude" that choosing a "beta" white male is a better deal because as she matures she realizes that forethought trumps animalism almost every time. With no fathers, most black boys are never trained out of their wildness--the key word here being trained.

The Reality Principle (and Adult Morality) is afterthought trying to become forethought. You--meaning any and all of us--more or less succeed in this endeavor.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won’t be killed or beaten by them. Blacks, etc. are turning on a natural ally.

did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

Or toss the mothers and wives under a bit of the bus here.

did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

Or toss the mothers and wives under a bit of the bus here.

I think that he’s got the Italian-Jewish escape clause with his wife. “See, Honey, it’s only certain kinds of White women who need to be shot and strangled…..You know, women like Haven Monahan’s sister…..”

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

True, Coates is a little more authentically downscale than the archetype (he also didn’t land in comedy or law, and had to basically fall back entirely on professional blackety-blackness as a “journalist”).

Another great example: Aaron McGruder, creator of Boondocks (raised in a planned community in Maryland, father was with the NTSB, Jesuit high school and U. of Maryland degree in African American studies). Though he proved even too angry, left-wing, and unstable to ride this gravy train too far.

Yea, blacks like Coates and McGruder have to do the "blackety-black" thing or else they wouldn't have a job. But blacks like Obama and Jordan Peele could still find decent jobs, although they would have to settle for a lot less money.

Anon, I assume that was just a travel commercial, right? They wanted people to come back to spend money a 2nd and 3 rd time to blow their money on normal touristy stuff, but a black Shakespeare play?

They also abused a great John Lennon song with this commercial.

Anyway, we can't even get the white, anti-Trump crowd to GET OUT to Canada. They should have crossed the border a few months ago and be up in the Yukon by now, but you still see some of the faces down here. What gives? These people have the means, while the one's bitching in the movie discussed herein probably couldn't leave without some crowd funding.

Context is everything. The Jamaica Tourism Board (Jamaican government) ran this series of preposterous ads to counter the copious bad publicity which the bloody "Trenchtown Wars" had created since the mid-seventies (Rastas fighting and killing each other over the drug routes to the US).

If memory serves, White tourism took a quick and steady dive after the machete murder of two British tourists on a golf course in Dominica (BWI) one fine tropical day. After Whitehall (British government) left the British West Indies in the mid-sixties, Bob Marley's image had replaced the Queen's in most rural Jamaican post offices by 1975!

True, Coates is a little more authentically downscale than the archetype (he also didn't land in comedy or law, and had to basically fall back entirely on professional blackety-blackness as a "journalist").

Another great example: Aaron McGruder, creator of Boondocks (raised in a planned community in Maryland, father was with the NTSB, Jesuit high school and U. of Maryland degree in African American studies). Though he proved even too angry, left-wing, and unstable to ride this gravy train too far.

,

Yea, blacks like Coates and McGruder have to do the “blackety-black” thing or else they wouldn’t have a job. But blacks like Obama and Jordan Peele could still find decent jobs, although they would have to settle for a lot less money.

Yea, blacks like Coates and McGruder have to do the “blackety-black” thing or else they wouldn’t have a job

To his credit, McGruder at least has some artistic skill imitating the style of Japanese manga. If he had been a white kid from, say, Huntington Beach, California, he might have made some wicked skateboard art.

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise.

In case anyone has forgotten, she’s talking about Rachel Dolezal:

Rachel Anne Dolezal (also spelled Doležal /ˈdoʊləʒɑːl, -ʒæl/;[4] born November 12, 1977) is an American civil rights activist and former Africana studies instructor. She was president of the National Association for the Advancement of Colored People (NAACP) chapter in Spokane, Washington, from 2014 until June 15, 2015, when she resigned following allegations that she had lied about her racial identity and other aspects of her biography.[5][6][7][8][9] In June 2015, Dolezal came to media attention when her Caucasian parents stated publicly that Dolezal is a white woman passing as black. Their statement followed Dolezal’s reports to police and local news media that she had been the victim of nine hate crimes.[8][10][11] Dolezal’s critics contend that she has committed cultural appropriation and fraud; Dolezal and her defenders contend her racial identity is genuine while not based on biology or ancestry.[12] In a November 2015 television interview, Dolezal publicly stated for the first time since the controversy began that she was born white but still identifies herself as black

Maybe, for his next movie, Jordan Peele should do a re-make of Invasion of the Body Snatchers…..See, White people start faking Black ancestry as a way to undermine Black organizations. Yeah, he could even lift the scene from the John Carpenter version of The Thing where they draw blood, only now they are testing for Black ancestry….It would be a super-tense scene, a huddled group of “one drop” Blacks feverishly eyeing each other as they wait for the results….

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can't forgive Rachel Dolezal for being a more attractive "black woman" than most of them can ever hope to be! Sailer's law of black female commentary in action, of course.

did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

Or toss the mothers and wives under a bit of the bus here.

I think that he's got the Italian-Jewish escape clause with his wife. "See, Honey, it's only certain kinds of White women who need to be shot and strangled.....You know, women like Haven Monahan's sister....."

Interesting. It seems that Jordan Peele may have lifted the plot germ from The Skeleton Key:

Caroline Ellis is a hospice aide who takes the position as caregiver at an isolated plantation house. The lady of the house, Violet Devereaux, looks after her husband Benjamin Devereaux, who has had a stroke. With some prompting from the family’s estate lawyer, Luke Marshall, Caroline accepts the position.Caroline, using a skeleton key that Violet gave her, makes her way to the attic (where Ben had his stroke) and finds a secret room. She discovers dolls, a book of spells, potion jars, and various other magical paraphernalia. Violet reveals to Caroline that the room belonged to two house servants who were employed there 90 years prior. The couple, Mama Cecile and Papa Justify were renowned practitioners of Hoodoo and were lynched for practicing spells with the original owners’ children. Violet also tells Caroline that they do not keep mirrors in the house because they see the reflection of the servants in them.

Violet confirms that hoodoo cannot work unless one believes, and that she doubts Caroline’s protestation that she does not believe. Violet then pushes a mirror at Caroline, which reflects one of the children, then Violet, and lastly Mama Cecile. The two fall unconscious and switch bodies as a recording of the Conjure plays.
Upon waking up, “Caroline” gives “Violet” a liquid that causes a pseudo-stroke so that she can not reveal the truth about Mama Cecile and Papa Justify. When Caroline’s friend Jill arrives at the plantation, Luke informs her that Ben and Violet left the house to Caroline, thus allowing Mama Cecile and Papa Justify to continue occupying the house. The film ends with Caroline and Luke looking at each other helplessly, trapped in the dying bodies of Violet and Ben.

My guess the people who have turned off Hollywood have already done so and what's left is the moral and mental dross of white society which pumps money into Hollywood the same way they pump untold billions into the NBA and NFL.

All of which are a cultural and moral sewer pipe spewing garbage into white America.

Toss Hostel in the mix. Sure, white women in Europe are beautiful and sexually available, but only until they can lure you to an abandoned factory where you'll be tortured to death by sadists who pay a fortune for the experience.

It’s fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It’s funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the “mad scientist” character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you’ll note, Marty’s father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn’t see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods—as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being “less manly” than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left—and a sign of how scared they really are of us.

It’s fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

Yeah, but note also how the film plays into Black narcissism. The Whites all want to transfer their minds into "superior" Black bodies....the ultimate expression of White appropriation of Blackness....White girls desiring Black males (as near as I can tell, male to male mind transfers outnumber the female to female variety)....

"It’s funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the “mad scientist” character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you’ll note, Marty’s father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related?"

Interesting thesis, and one I think well worth discussing.

Off the top of my head, it could be a Jungian archetype thing. "Come on, this is WHAT you are really scared of now!"

Pretty easy to fold the zombie phenom into this (and that one has been discussed before).

Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers unlike most other ethnicities particularly the SWPL demo that's gone all HBO/Game of Thrones/Hulu/Netflix).

Blacks love horror movies. 86' all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50's and 60's horror flicks weren't that much into explaining things either, but they felt the need to at least try.

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The Hills Have Eyes (1977) is another very significant entry in this 1970s shift. Although it's not, technically, a horror movie, Deliverance has a similar theme.

This is actually probably the "dark negative" of a broader pop-culture trend. The early 1970s also, for example, witnessed a "rural purge" of rural set TV shows (e.g., Green Acres, The Beverly Hillbillies, Lassie, etc.) from TV. (https://en.wikipedia.org/wiki/Rural_purge) I think by the 1970s, the cultural trope of "salt of the earth folk" from "the Heartland" had given way to that of hillbillies and rubes from the backwoods, while the "auteur-era" was dominated by urban settings and themes (take a look at what movies were winning Best Picture in the 1970s). The Civil Rights movement played a cultural role in this (obviously), as did, I think, Vietnam (by making the concept of "the boonies," and the people who had been there, threatening, and also having been the first alien, wild place in the world that Americans had ever been decisively thrown back out of, rather than conquering and taming) and, to a less obvious but possibly broader extent, did the building of the Interstate Highway System (which connected a lot of formerly backwater places and made the possibility of getting lost somewhere off the highway a possibility).

Maybe it's simply that "science as threat" doesn't work anymore once the population gets used to new technologies.

I don't think it has anything to do with who it's meant to appeal to.

Slasher/lost in the woods horror hasn't really been that popular for a decade now anyway. Honestly the horror that works best isn't slasher or science horror but fear of the intangible, the unknown, the dark & creepy. Why the Babadook and It Follows worked so well. The Witch was also quite good.

Whorefinder, Old guy here, so the original "Blob" and a movie about a creature they found under the ice at the North Pole scared the crap out of me, but more recently "Alien" made my heart skip a beat.

Forgot to add that the original Ghostbusters was also a partial homage to those old horror movies, seen from a comedic-moneymaking point of view---the ghosts are scary, but after the first scene with the librarian-ghost, the men don't act scared of the ghosts but more like guys on a harried job trying to figure out how to get rid of an ghost they are facing.

Dan Aykroyd (who wrote it) is famous for his belief in the paranormal, but studies it like a scientist, not like some mystic gypsy woman.

I don't think the Rotten Tomatoes could have handled it. The only negative review of the movie right now is from Armond White at National Review, who called it the return of the get whitey movie. Even Hidden Figures has a handful of negative reviews, although from reading the blurbs from them, most of those reviewers are attacking it from the left.

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise.

In case anyone has forgotten, she's talking about Rachel Dolezal:

Rachel Anne Dolezal (also spelled Doležal /ˈdoʊləʒɑːl, -ʒæl/;[4] born November 12, 1977) is an American civil rights activist and former Africana studies instructor. She was president of the National Association for the Advancement of Colored People (NAACP) chapter in Spokane, Washington, from 2014 until June 15, 2015, when she resigned following allegations that she had lied about her racial identity and other aspects of her biography.[5][6][7][8][9] In June 2015, Dolezal came to media attention when her Caucasian parents stated publicly that Dolezal is a white woman passing as black. Their statement followed Dolezal's reports to police and local news media that she had been the victim of nine hate crimes.[8][10][11] Dolezal's critics contend that she has committed cultural appropriation and fraud; Dolezal and her defenders contend her racial identity is genuine while not based on biology or ancestry.[12] In a November 2015 television interview, Dolezal publicly stated for the first time since the controversy began that she was born white but still identifies herself as black

https://en.wikipedia.org/wiki/Rachel_Dolezal

Maybe, for his next movie, Jordan Peele should do a re-make of Invasion of the Body Snatchers.....See, White people start faking Black ancestry as a way to undermine Black organizations. Yeah, he could even lift the scene from the John Carpenter version of The Thing where they draw blood, only now they are testing for Black ancestry....It would be a super-tense scene, a huddled group of "one drop" Blacks feverishly eyeing each other as they wait for the results....

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

A few years ago black women caught on that a lot of the black actors that they supported don’t want to date or marry black women in real life. A small but vocal group of black women have called for boycotting projects that these men are in. Apparently Peele got the memo and tossed the bone.

Michael Ealy’s marriage to an Afghani woman was an unwelcomed shock to black women and he even hid the birth of his son for several months. Omari Hardwick had to defend his white wife from online attacks calling her ugly. When Dwayne “The Rock” Johnson appeared on the cover of Essence to promote a project, it was painful when they asked him what he liked about black women since he doesn’t date them.

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

A few years ago black women caught on that a lot of the black actors that they supported don't want to date or marry black women in real life. A small but vocal group of black women have called for boycotting projects that these men are in. Apparently Peele got the memo and tossed the bone.

Michael Ealy's marriage to an Afghani woman was an unwelcomed shock to black women and he even hid the birth of his son for several months. Omari Hardwick had to defend his white wife from online attacks calling her ugly. When Dwayne "The Rock" Johnson appeared on the cover of Essence to promote a project, it was painful when they asked him what he liked about black women since he doesn't date them.

When Dwayne “The Rock” Johnson appeared on the cover of Essence to promote a project, it was painful when they asked him what he liked about black women since he doesn’t date them.

Black Nova Scotian on his father's side. Seemingly part Samoan on his mother's side. Which is what he looks like, to my eyes. He resembles many Samoans and part-Polynesians I've seen. Here's a picture of his maternal grandfather

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

It’s fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

Yeah, but note also how the film plays into Black narcissism. The Whites all want to transfer their minds into “superior” Black bodies….the ultimate expression of White appropriation of Blackness….White girls desiring Black males (as near as I can tell, male to male mind transfers outnumber the female to female variety)….

Someone posted a video a while back about "Hillary Clinton Porn," i.e. movies which unrealistically portray a Strong Independent Woman who is morally and intellectually superior to the men around her.

In fact, this kind of exploitation is probably a large element in a big percentage of films. People seem to prefer entertainment which also confirms some aspect their world view; which panders to their vanities.

Let’s not forget the auteur of the “Bitch Better Have My Money” white-woman-torture music video winning the Humanitarian of the Year award from the Harvard Foundation for Intercultural and Race Relations

When Dwayne “The Rock” Johnson appeared on the cover of Essence to promote a project, it was painful when they asked him what he liked about black women since he doesn’t date them.

Isn't he only half-black? And that half is from Canada?

Black Nova Scotian on his father’s side. Seemingly part Samoan on his mother’s side. Which is what he looks like, to my eyes. He resembles many Samoans and part-Polynesians I’ve seen. Here’s a picture of his maternal grandfather

The Rock got a big voice role in Disney's successful Polynesian animated film Manoa because he's part Samoan and because he sells tons and tons of tickets. He was the highest paid star in the world last year.

"Manoa" is a pretty successful example of two crafty old white guys, Clement and Musker, adeptly dealing with all the current political rules and still winding up with the movie they wanted to make.

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn’t.

Hunstville is 31.2% Black......

As of the census of 2010, there were 180,105 people, 77,033 households, and 45,416 families residing in the city. The population density was 857.6 people per square mile (332.7/km2). There were 84,949 housing units at an average density of 405.3 per square mile (156.9/km2). The racial makeup of the city was 60.3% White, 31.2% Black or African American,

https://en.wikipedia.org/wiki/Huntsville,_Alabama#Demographics

Boise is the place to go. That’s what I’d do if I were a young white guy in California.

Interesting recommendation. I was born and raised in California and have been pondering the question of where to go for quite some time. It saddens me to leave, but it feels more and more third world each day. I was considering Salt Lake City, Boise, perhaps some moderate size city in the Midwest. Breaks my heart

Yea, blacks like Coates and McGruder have to do the "blackety-black" thing or else they wouldn't have a job. But blacks like Obama and Jordan Peele could still find decent jobs, although they would have to settle for a lot less money.

Yea, blacks like Coates and McGruder have to do the “blackety-black” thing or else they wouldn’t have a job

To his credit, McGruder at least has some artistic skill imitating the style of Japanese manga. If he had been a white kid from, say, Huntington Beach, California, he might have made some wicked skateboard art.

no comment on the Lebanonisation of the Oscars; at least one main Oscar and about 5 nominations must go to a POC?

It’s interesting how all consciously multi-ethnic Empires go down the same way. The Brits of course avoided it by giving it all up so they wouldn’t have to share but Empire had a way of chasing them all the way back to the Islands..

I was making picks with a friend, telling him the Oscars are now "all Black all the time". He doubted me, but I based my picks purely on race, while he played it straight, and I had more correct picks than he did.

After WWII Britain was bankrupt. It could no longer afford the British Empire. However, the British desperately tried to keep a resemblance of an empire together masked as the British Commonwealth of Nations ... kind of a British-run United Nations.

To convince the newly freed colonies and territories to join the Commonwealth, the British for a time offered the ex-colonials British passports and work permits. "We're really all British, you know ...." This is how the Caribbean Blacks and Pakistanis make it to the British Isles. They were invited, much as the Hispanics were invited by the United States through a decades-long suspension of US immigration laws.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

“It’s funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the “mad scientist” character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you’ll note, Marty’s father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related?”

Interesting thesis, and one I think well worth discussing.

Off the top of my head, it could be a Jungian archetype thing. “Come on, this is WHAT you are really scared of now!”

Pretty easy to fold the zombie phenom into this (and that one has been discussed before).

Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers unlike most other ethnicities particularly the SWPL demo that’s gone all HBO/Game of Thrones/Hulu/Netflix).

Blacks love horror movies. 86′ all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50′s and 60′s horror flicks weren’t that much into explaining things either, but they felt the need to at least try.

Blacks love horror movies. 86′ all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50′s and 60′s horror flicks weren’t that much into explaining things either, but they felt the need to at least try.

Now it is “Damn the plot, full gore ahead!”

The increase in gore and sadism in horror films---called "torture porn" these days---owes a lot to loosening mores and movie ratings.

But it also has a lot to do with the disintegration of human ties to their communities; it's the Bowling Alone meets the Bobos in Paradise syndrome. Because people aren't as connected with one another, it takes a lot of effort to make us care when someone is hurt or injured. Amping up the gore is one method, since the more visceral and torturous the pain seems, the more we tend to empathize.

It also is related to the fact that, relatively speaking, Americans aren't faced with widespread hardship and gore in their daily lives. When times are hard or brutal, light-hearted comedies and cartoons rule the day.

E.g. The Depression-era 1930s had many, many happy films become hits, such as the screwball comediesThe Awful Truth, It Happened One Night, My Man Godfrey, and His Girl Friday; the revue films such as the Big Broadcast of 1938; and cartoons such as Mickey Mouse, whose persona changed from the 1928-version of the mischievous anti-hero to the 1935s wholesome everyman.

When people are miserable, they want light-hearted fare. The film Sullivan's Travels of 1941 stated this pretty directly, where a depression-era comedy film maker wants to make "serious" films for the "downtrodden" masses, only to finally discover that his comedies were exactly what the "downtrodden masses" wanted, since it relieved them of their misery.

But these days, most people aren't facing a Great Depression coupled with WWII and the loss of the family farm. So to us, torture and misery are escapism from our comfortable, slightly boring lives.

"Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers"

I go to Alamo Draft House Theater a lot and it's mostly a White audience everytime I go there. What separates Alamo from other theaters like AMC is that they show a lot of cult classics and independent art house films. Vibrant Diversity is not a fan of this because they prefer their Fast & Furious, Tranformers, and other movies with tons of CGI.

"Blacks love horror movies."

Black don't love Italian horror films known as giallo. Nothing is Whiter than watching a horror film in theater directed by Dario Argento. The audience is extremely White.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The Hills Have Eyes (1977) is another very significant entry in this 1970s shift. Although it’s not, technically, a horror movie, Deliverance has a similar theme.

This is actually probably the “dark negative” of a broader pop-culture trend. The early 1970s also, for example, witnessed a “rural purge” of rural set TV shows (e.g., Green Acres, The Beverly Hillbillies, Lassie, etc.) from TV. (https://en.wikipedia.org/wiki/Rural_purge) I think by the 1970s, the cultural trope of “salt of the earth folk” from “the Heartland” had given way to that of hillbillies and rubes from the backwoods, while the “auteur-era” was dominated by urban settings and themes (take a look at what movies were winning Best Picture in the 1970s). The Civil Rights movement played a cultural role in this (obviously), as did, I think, Vietnam (by making the concept of “the boonies,” and the people who had been there, threatening, and also having been the first alien, wild place in the world that Americans had ever been decisively thrown back out of, rather than conquering and taming) and, to a less obvious but possibly broader extent, did the building of the Interstate Highway System (which connected a lot of formerly backwater places and made the possibility of getting lost somewhere off the highway a possibility).

They’re jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

I predicted – and didn’t take much mental effort – that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do. Well, those days are drawing to a close, and women probably know it better than anyone. Hence this film that panders to racial hostility and slaps the erstwhile white sistahs across the face.

White women never should have been as intimately involved with black issues as they have been since Eleanor Roosevelt (maybe even Harriet Beecher Stowe), but being tolerant, ever-patient American men we have always indulged them. Big mistake, and of course we’ll be blamed for the inevitable result, which will be pretty grim for whites and blacks alike.

I predicted – and didn’t take much mental effort – that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do.

I think it was a bit more sinister than that. American feminism was a creation of the state and business interests designed to keep wages from rising by flooding the labor pool with newly "liberated" women. It worked, too, which is why wages have stagnated since the '70s.

I hope all blacks take this movie to heart, see whites as evil, and move away from white folks.

Yeah, whites are eeeeeeeeeeeeeeeevil. Don't go anywhere near them. Return to Africa. Or go to Jamaica. Go back to Safe African Home.

https://www.youtube.com/watch?v=vuJUm9-0Mxk

Anon, I assume that was just a travel commercial, right? They wanted people to come back to spend money a 2nd and 3 rd time to blow their money on normal touristy stuff, but a black Shakespeare play?

They also abused a great John Lennon song with this commercial.

Anyway, we can’t even get the white, anti-Trump crowd to GET OUT to Canada. They should have crossed the border a few months ago and be up in the Yukon by now, but you still see some of the faces down here. What gives? These people have the means, while the one’s bitching in the movie discussed herein probably couldn’t leave without some crowd funding.

Steve had 197 chances to move the fuck out of California and into (eg) Huntsville AL. But he didn’t.

Hunstville is 31.2% Black......

As of the census of 2010, there were 180,105 people, 77,033 households, and 45,416 families residing in the city. The population density was 857.6 people per square mile (332.7/km2). There were 84,949 housing units at an average density of 405.3 per square mile (156.9/km2). The racial makeup of the city was 60.3% White, 31.2% Black or African American,

https://en.wikipedia.org/wiki/Huntsville,_Alabama#Demographics

It’s also a big military town – the HQ of Army Mobility Command (AMC) is there (also known as “A Million (Govt) Civilians”).

no comment on the Lebanonisation of the Oscars; at least one main Oscar and about 5 nominations must go to a POC?

It's interesting how all consciously multi-ethnic Empires go down the same way. The Brits of course avoided it by giving it all up so they wouldn't have to share but Empire had a way of chasing them all the way back to the Islands..

…at least one main Oscar and about 5 nominations must go to a POC?

I was making picks with a friend, telling him the Oscars are now “all Black all the time”. He doubted me, but I based my picks purely on race, while he played it straight, and I had more correct picks than he did.

Just what you'd expect if you "elect a new people". The newspapers have reported that lots of old white Academy members were "retired" and replaced by "minority" members who, if presidential election behavior is predictive, probably voted "black" 85 to 98%. The remaining white members probably split their vote amongst all categories by perceived quality, only slightly biased toward black.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of "frontin'" and "keepin' it real" wherein they fantastically or vicariously try to "pass" as hard-core brothers fightin' the man who's trying to keep 'em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the "Obama anger translator" bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don't know what's behind this, if it's a performance they do to reassure themselves that, deep down, they're still really black enough, or if it's done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It's basically a sort of "internalized minstrelsy" though.

It gets suppressed in the official narrative about race in the U.S., but light-skinned blacks and biracial blacks get a lot of grief and rejection from the larger black population. There are two ways to deal with this – say “to hell with it” and integrate better into general society, or prove your allegiance by being the most abrasive, radical members of the black population. Obama successfully made a transition from the former to the latter when he moved to Chicago, calling an audible on his prior act in Hawaii/Columbia as the affable black fellow who wasn’t angry.

They're jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

I predicted - and didn't take much mental effort - that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do. Well, those days are drawing to a close, and women probably know it better than anyone. Hence this film that panders to racial hostility and slaps the erstwhile white sistahs across the face.

White women never should have been as intimately involved with black issues as they have been since Eleanor Roosevelt (maybe even Harriet Beecher Stowe), but being tolerant, ever-patient American men we have always indulged them. Big mistake, and of course we'll be blamed for the inevitable result, which will be pretty grim for whites and blacks alike.

Big mistake…

Yeah; those that try to help get more blame than those who ignore the situation.

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh's character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins).....

I hope iSteve is being paid to watch those movies.

The last celebrated Hollywood fare I watched I think it was exactly “The hateful eight”. Awful, disgusting movie. I will never watch anything by Tarantino again.

I basically stopped going to the movie theaters – although I watched “Silence” in the cinema: a pretty good movie, despite some casting errors. I guess Scorsese had to put some famous faces there to make the producers believe that the film could be a hit (it wasn’t, of course; it couldn’t be with that theme. Although, come to think of it, it also involves a lot of violence by non-whites on whites).

My modern film watching consists of occasional foreign films, documentaries and an occasional science fiction film even they all suck now. Other than that I watch films made before 1965 or thereabouts.

Combo of leftist, white shaming sermon "United Kingdom" and this Get Out playing nearby.
We have been swimming in this propaganda drek for years now. Get Out looks like a combo of early 70s horror with a Smidge of Cronenberg, Shyamalan drenched in Hive paranoia of Evil whitey.

Still waiting for some flics on the plight of whites when victimized by nonwhites in Haiti, Zimbabwe, South Africa, USA, and now urban Europe. How about about some documentaries on the Holodomor, the Amenian Genocide, and Stalin's gulags. How about something truthy on Che & Castro, 1956-65. Lots of history remains off limits when it doesn't suit the narrative.

go see the film “No Escape”. This was one of the best films of 2015 and showcased the dangers of being white in an Asian nation. Stars Owen Wilson. The film was criticized for being racist.
It is worthy of your movie dollar. Note though that for those adversely affected by films about children in peril and/or about serious sexual assault, this might be one for you to miss. The bottom line is that this film is tense. On the ‘tenseness scale’, we go right through ‘clenching the armrest’ right up to ‘hands in the hair’ tense at times, and there is little relief from after the action really kicks off. As a result, this is quite an exhausting watch.

Undercover Brother: Are you telling me there really is a Man'?
Conspiracy Brother: What do you think? Things don't just happen by accident! Sometimes people - mostly *white* people - make things happen!
Undercover Brother: So the conspiracies we've believed for all these years are true? The NBA really did institute the three point shot to give white boys a chance?
Smart Brother: Absolutely!
Undercover Brother: Then the entertainment industry really *is* out to get Spike Lee?
Conspiracy Brother: Come on man! Even Cher's won an Oscar! Cher!
Undercover Brother: Then O.J. really didn't do it?
[Everyone looks away and mumbles]
The Chief: We... we ain't got time for this!

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise.

In case anyone has forgotten, she's talking about Rachel Dolezal:

Rachel Anne Dolezal (also spelled Doležal /ˈdoʊləʒɑːl, -ʒæl/;[4] born November 12, 1977) is an American civil rights activist and former Africana studies instructor. She was president of the National Association for the Advancement of Colored People (NAACP) chapter in Spokane, Washington, from 2014 until June 15, 2015, when she resigned following allegations that she had lied about her racial identity and other aspects of her biography.[5][6][7][8][9] In June 2015, Dolezal came to media attention when her Caucasian parents stated publicly that Dolezal is a white woman passing as black. Their statement followed Dolezal's reports to police and local news media that she had been the victim of nine hate crimes.[8][10][11] Dolezal's critics contend that she has committed cultural appropriation and fraud; Dolezal and her defenders contend her racial identity is genuine while not based on biology or ancestry.[12] In a November 2015 television interview, Dolezal publicly stated for the first time since the controversy began that she was born white but still identifies herself as black

https://en.wikipedia.org/wiki/Rachel_Dolezal

Maybe, for his next movie, Jordan Peele should do a re-make of Invasion of the Body Snatchers.....See, White people start faking Black ancestry as a way to undermine Black organizations. Yeah, he could even lift the scene from the John Carpenter version of The Thing where they draw blood, only now they are testing for Black ancestry....It would be a super-tense scene, a huddled group of "one drop" Blacks feverishly eyeing each other as they wait for the results....

syon, I read that Ms. Dolezal is now homeless and living on a EBT card.

According to Wiki: "Dolezal told The Guardian in December 2015 that she was pregnant and expecting to deliver a son in June 2016, whom she has named Langston in honor of writer Langston Hughes." It's pretty easy to get public housing if you have no job and a kid to support. There's no mention of any husband. My suspicion is that abruptly deciding to have a kid is her way of figuring out how to support herself for the next 18 years as long as she's unemployable, or until the public forgets. Or maybe she wants to have the ultimate black female life experience, single mother on welfare, LOL. People with a serious personality disorder like Dolezal have kids as casually as picking out a pet, and for truly messed-up reasons. Her kid's going to be a basket case.

Secondly: "She has written a memoir, In Full Color, that will be published in March 2017." I looked at her book rank on Amazon. It's not the highest, but she's selling copies in advance of its publication. She's making money.

They're jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

I predicted - and didn't take much mental effort - that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do. Well, those days are drawing to a close, and women probably know it better than anyone. Hence this film that panders to racial hostility and slaps the erstwhile white sistahs across the face.

White women never should have been as intimately involved with black issues as they have been since Eleanor Roosevelt (maybe even Harriet Beecher Stowe), but being tolerant, ever-patient American men we have always indulged them. Big mistake, and of course we'll be blamed for the inevitable result, which will be pretty grim for whites and blacks alike.

They’re jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

And many of them hate other white women. At least those they don’t despise.

Movies that Black People Like make Madea money. This movie has a large white clientele.

Outside of traditional communities of various stripes, there’s a Cold War of all against all.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won't be killed or beaten by them. Blacks, etc. are turning on a natural ally.

A white “beta” male is just a man who has been civilized. When he was a kid he was as wild as any black boy. At some point in his upbringing, he began to respond to authority when he was called to account for the damage his wildness caused. His “beta”ness represents the dawn of forward thinking in his personality. Most white women “finally conclude” that choosing a “beta” white male is a better deal because as she matures she realizes that forethought trumps animalism almost every time. With no fathers, most black boys are never trained out of their wildness–the key word here being trained.

The Reality Principle (and Adult Morality) is afterthought trying to become forethought. You–meaning any and all of us–more or less succeed in this endeavor.

Three Cranes, Just a thought, but my father's generation had WWII and the Korean War in which to be Alpha males and heroes, even if they were actually Beta. The Vietnam War made men ashamed to be Alpha, or warriors or heroic, after that all down hill.

I have an idea for GIRL WITH DRAGON ASS TATTOO sequel that might solve the migrant crisis.

In this sequel, it turns out that Merkel is a secret Nazi, like the witch in Hansel and Gretel story.

And her real plan for inviting in all those refugees to fatten them up and turn them into sausages.

Make this movie and show it to ALL MUSLIMS. Maybe the refugees will all flee out of Germany.

https://www.youtube.com/watch?v=efyLnijCvEI

Germany is really MOTEL HELL. And the Pope is in on it too. They are all crypto-Nazis who want to feast on Muslims. Muslims taste good cuz they eat pork or drink alcohol. They taste sweet.

https://www.youtube.com/watch?v=k4AR3BgaCdA

Run Muslims Run. GET OUT!!!!

Toss Hostel in the mix. Sure, white women in Europe are beautiful and sexually available, but only until they can lure you to an abandoned factory where you’ll be tortured to death by sadists who pay a fortune for the experience.

And the Media-Edu complex still bleats that White establishment still marginalizes African American perspectives. Looks more like an advanced psy-ops program to villify whites, and pathologize their self-interest in an era when only nonwhite Identity politics will be tolerated.

I’m coming to believe that the full court press on Whitey is both a race-parallel to the Left’s tranny obsession (both are apogees of false consciousness in Leftism and a signal of trend reversal) and exactly what you’d expect to see plant the seeds of the Next Big Trend in race relations: whites give up on the Universalist religion en masse and we see a tsunami of “enough-is-enough” move the USA’s populace so hard to the right that most zealot-leftists mysteriously die of neck trauma from whiplash.

If this view is correct, I’m rather satisfied with all this “kill whitey” stuff. It makes personal security decisions a lot more black-and-white, i.e., simpler.

This is actually a pretty good horror-comedy. It’s far less bloody than Django Unchained. I enjoyed it more than Stepford Wives, which is completely free of comedy, has poor production values, and loses much of its force if you already know the twist. The racial angle is also rather original, as it’s about whites who fetishize blackness.

The film is a horror-comedy, and I think that's ignored when you compare it to something like Django Unchained. An action movie can be a heightened version of reality, horror can leave reality out altogether for the supernatural (sometimes with a scifi angle that is effectively supernatural), and comedies (particular horror comedies) can do anything for a joke. The note about this kind of film being responsible for any kind of Ferguson effect is particularly off. It's not about some cool badass that knuckleheads might find aspirational, the cop who is initially depicted as antagonistic is the opposite (as someone more perceptive than me pointed out, Rose is the one who doesn't want to cooperate because that would put Chris' whereabouts before he goes missing on the record), and the violence all takes place in bucolic upper-class suburbs where violence is actually rare and underclass blacks don't live near.

The racial angle is also rather original, as it’s about whites who fetishize blackness.

Well, from a Black Studies standpoint, it's quite unoriginal, as the theme of the "fetishization of the Black body" has been done to death. Peele (a Sarah Lawrence grad) has simply applied these notions to a horror film.

I enjoyed it more than Stepford Wives, which is completely free of comedy,

It's not as funny as Ira Levin's novel, true, but I would hardly describe the film version as "completely free of comedy."

Black Nova Scotian on his father's side. Seemingly part Samoan on his mother's side. Which is what he looks like, to my eyes. He resembles many Samoans and part-Polynesians I've seen. Here's a picture of his maternal grandfather

I thought The Rock was 100 percent Pacific Islander when I first saw him, that is why I was confused when he joined The Nation Of Domination. But than he revealed while joining The Nation that he is half Black. This was before the age of Wikipedia where you can find the racial/ethnic background of a celebrity.

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

Richard Pryor in his 1974 comedy album “that n*-**a is crazy” had a bit where he stated that if the Exorcist had a black cast, its run time would have been 5 minutes after the specter ordered them to “get out”. My how times have changed.

This is actually a pretty good horror-comedy. It's far less bloody than Django Unchained. I enjoyed it more than Stepford Wives, which is completely free of comedy, has poor production values, and loses much of its force if you already know the twist. The racial angle is also rather original, as it's about whites who fetishize blackness.

The film is a horror-comedy, and I think that’s ignored when you compare it to something like Django Unchained. An action movie can be a heightened version of reality, horror can leave reality out altogether for the supernatural (sometimes with a scifi angle that is effectively supernatural), and comedies (particular horror comedies) can do anything for a joke. The note about this kind of film being responsible for any kind of Ferguson effect is particularly off. It’s not about some cool badass that knuckleheads might find aspirational, the cop who is initially depicted as antagonistic is the opposite (as someone more perceptive than me pointed out, Rose is the one who doesn’t want to cooperate because that would put Chris’ whereabouts before he goes missing on the record), and the violence all takes place in bucolic upper-class suburbs where violence is actually rare and underclass blacks don’t live near.

Thirdwin, An implausible weapon only in the hands of a white boy, but I dare you to play "Box" lacrosse on the reservation with a group of braves. Lacrosse was, in the Iroquois or Mohawk language, "Little War." The boys would cut the rawhide where it exited the side of a wooden stick on the bias and then lacquer the points to make a saw blade, drag that across the side of your neck or calf. I have several old wooden sticks that would make excellent weapons.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

Or, Occam’s Razor, slasher movies displaced guy in a rubber suit movies because the demise of the Hays Code enabled all the gore.

Genre inventors John Carpenter and Wes Craven were both WASPs from Bowling Green, KY and Cleveland, respectively.

Not just gore. Slasher films are substantially about boobies. You hear idiotic commentary about psychos in these movies punishing young people engaged in sex because of, I don't know, regressive Reagan-era morality, or something. And I can't entirely rule out that they are, in part at least, a negative reaction to the sexual revolution. But the reason so many death scenes come right after sex scenes is that the filmmakers needed a way to get as many boobs as possible into their movies.

It's that simple. Same reason why there are so damn many rape scenes in B-movies of all kinds, not just horror, after '68 or so. Because rape is an easy shortcut to boobs.

There was a fictitious director in an 80s comedy about moviemaking called Sweet Liberty.* He described the mindset perfectly (and I quote): "You know what kids like?...kids go completely ape if you do three things in a picture: defy authority, destroy property, and take people's clothes off."

*About a history professor, played by Hawkeye (not Daniel Day Lewis), whose book about a real-life Revolutionary War heroine is butchered by a Hollywood adaptation. It's not very good.

no comment on the Lebanonisation of the Oscars; at least one main Oscar and about 5 nominations must go to a POC?

It's interesting how all consciously multi-ethnic Empires go down the same way. The Brits of course avoided it by giving it all up so they wouldn't have to share but Empire had a way of chasing them all the way back to the Islands..

After WWII Britain was bankrupt. It could no longer afford the British Empire. However, the British desperately tried to keep a resemblance of an empire together masked as the British Commonwealth of Nations … kind of a British-run United Nations.

To convince the newly freed colonies and territories to join the Commonwealth, the British for a time offered the ex-colonials British passports and work permits. “We’re really all British, you know ….” This is how the Caribbean Blacks and Pakistanis make it to the British Isles. They were invited, much as the Hispanics were invited by the United States through a decades-long suspension of US immigration laws.

Or as genuine refugees, fleeing authentic Black Muslim racism in the jovial tubby form of the Last King of Scotland, Idi Amin Dada. Before their heads ended up in the presidential refrigerator.
Of all the blow-ins since WWII, apart from the Ghurkhas, bless 'em, the Ugandan Asians (various flavours of Indians, to you and me) have been the least obnoxious. Apart from that insufferable racist cow, Yam-tits Alibi-Brown. But I suppose it's the only job she's capable of holding down. Village gobshite, By Royal Appointment.

Casting a stereotypical pop-eyed black like this would have been otherwise considered wayssist but is overlooked here as it’s for a good cause. That he has a black body wanted by someone else is also subtly funny since he’s really a poor specimen, hardly something that would fetch much of a price on the auction block. Mulattos seem to have strange psychologies that needs to be examined more closely one of these days. White women certainly have come in for some battering in recent years and now it’s coming from their former racial pets. They’ve redeemed themselves in part by turning in that 53% vote but have a ways to go yet. Note that the critics who gave the film a 99% approval rating are mostly white so it’s clear that the real problem is all of the white enablers who make this trash possible; these are the real deplorables.

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

authentically black

It seemed like every other rad speaker over the last two years that showed up on the news was the product of a white mother and black father.

Undercover Brother: Are you telling me there really is a Man'?
Conspiracy Brother: What do you think? Things don't just happen by accident! Sometimes people - mostly *white* people - make things happen!
Undercover Brother: So the conspiracies we've believed for all these years are true? The NBA really did institute the three point shot to give white boys a chance?
Smart Brother: Absolutely!
Undercover Brother: Then the entertainment industry really *is* out to get Spike Lee?
Conspiracy Brother: Come on man! Even Cher's won an Oscar! Cher!
Undercover Brother: Then O.J. really didn't do it?
[Everyone looks away and mumbles]
The Chief: We... we ain't got time for this!

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

The entire problem, real or imagined, can be avoided if we segregate by nation. We whites simply cannot resist mistreating blacks. Therefore, we must be punished by having no access to blacks.

If they are not in our nation and cities, then we cannot discriminate against them. We must end racism by saving blacks from the presence of whites.

After all, if you place children around pedophiles, you guarantee that children will be sexually abused. All Liberals know that all whites are racists. Therefore, placing blacks within proximity of whites guarantees white racist horrors suffered by blacks.

People who demand that children and pedophiles mix and mingle are monsters who make certain that children get abused. Likewise, people who demand racial integration are monsters who make certain that blacks get racially mistreated.

Blacks need to be protected from white people’s very presence. Just as children must be protected from the presence of pedophiles. And people must be protected from the presence of lions and tigers.

It doesn’t matter that BIRTH OF A NATION flopped at the box office. As I predicted, the library here in the Peoples’ Republic has 6 copies and 77 people are on the wait list to see it. I’d bet anybody $100 that the same thing is happening all across the country.

I saw the trailer for Get Out several times on TV and could tell that it sucked.

I hope all blacks take this movie to heart, see whites as evil, and move away from white folks.

Yeah, whites are eeeeeeeeeeeeeeeevil. Don't go anywhere near them. Return to Africa. Or go to Jamaica. Go back to Safe African Home.

https://www.youtube.com/watch?v=vuJUm9-0Mxk

Context is everything. The Jamaica Tourism Board (Jamaican government) ran this series of preposterous ads to counter the copious bad publicity which the bloody “Trenchtown Wars” had created since the mid-seventies (Rastas fighting and killing each other over the drug routes to the US).

If memory serves, White tourism took a quick and steady dive after the machete murder of two British tourists on a golf course in Dominica (BWI) one fine tropical day. After Whitehall (British government) left the British West Indies in the mid-sixties, Bob Marley’s image had replaced the Queen’s in most rural Jamaican post offices by 1975!

Detective, my wife had a long and prosperous career in the travel business, Jamaica was always a hard sell.A beautiful island populated by people who were quite willing to kill, figuratively, the Golden Goose that was tourism. Rude, crude and differential barely covers the Jamaican attitude towards tourist, and I visited the island three times, staying only at 4 star properties.

Rotten Tomatoes is one of those sites, like GoodReads, that has become what Vox Day calls converged. In other words, lousy with SJWs and best avoided. IMDB gives better and more truthful movie reviews.

The (((critics))) reviews on Rotten Tomatoes make it sound like it’s the next Citizen Kane. This should be taken no more seriously than people telling high school aged negroes who can barely read that they can become astronauts.

Awakened Whites shouldn’t be supporting Hollywood anyway. There are plenty of places online to stream movies for free, even ones that have just opened in the theatres.

Rotten Tomatoes is one of those sites, like GoodReads, that has become what Vox Day calls converged. In other words, lousy with SJWs and best avoided. IMDB gives better and more truthful movie reviews.

RT always was thus. If I want to know what critics think of movies, I will check out RT. But since critics appear to be mostly lefty Jews, an average of their views is not very representative of whether I will like a movie. Sure, if there is minimal political content or sticking to "The Narrative", it may be a relatively good indicator of quality. But otherwise imdb is a much better indicator for me (except for comedies). Sure, the demographic who vote on imdb are net addicts, but that's me so it's fairly accurate.

On another note, this movie can be thought of as the gentrification of black bodies. Where's TNC when you need him?

To make it more funny, there should be some recognition of the gay vanguard of gentrification. Maybe to begin the process, they transplant a gay brain temporarily, with hilarity ensuing. "Don't ask us why we do this, we just know it works."

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise.

In case anyone has forgotten, she's talking about Rachel Dolezal:

Rachel Anne Dolezal (also spelled Doležal /ˈdoʊləʒɑːl, -ʒæl/;[4] born November 12, 1977) is an American civil rights activist and former Africana studies instructor. She was president of the National Association for the Advancement of Colored People (NAACP) chapter in Spokane, Washington, from 2014 until June 15, 2015, when she resigned following allegations that she had lied about her racial identity and other aspects of her biography.[5][6][7][8][9] In June 2015, Dolezal came to media attention when her Caucasian parents stated publicly that Dolezal is a white woman passing as black. Their statement followed Dolezal's reports to police and local news media that she had been the victim of nine hate crimes.[8][10][11] Dolezal's critics contend that she has committed cultural appropriation and fraud; Dolezal and her defenders contend her racial identity is genuine while not based on biology or ancestry.[12] In a November 2015 television interview, Dolezal publicly stated for the first time since the controversy began that she was born white but still identifies herself as black

https://en.wikipedia.org/wiki/Rachel_Dolezal

Maybe, for his next movie, Jordan Peele should do a re-make of Invasion of the Body Snatchers.....See, White people start faking Black ancestry as a way to undermine Black organizations. Yeah, he could even lift the scene from the John Carpenter version of The Thing where they draw blood, only now they are testing for Black ancestry....It would be a super-tense scene, a huddled group of "one drop" Blacks feverishly eyeing each other as they wait for the results....

Robert Prechter wrote that under his Socionomic Hypothesis, the kind of movies (and pop culture) that rise to dominance in any particular time can be correlated to the behavior of the stock market, because the latter is a pretty decent real-time barometer of social mood (and social mood drives what people want to do and see.)

This explains why horror as a force in movies showed up with the Great Depression, and that as soon as stocks turned up, all the horror films Hollywood had in the pipeline were box office duds.

A subtlety in this hypothesis is that small degree (of trend) corrections predict later, larger degree-of-trend specifics. The best example of this is Psycho, produced during the earlier 1960′s sideways bear market in stocks, foreshadowed the true Slasher genre during later years’ bear markets.

On the other side, once the larger sideways trend of 1966 to 1982 ended, the Disney (happy) cartoon machine came right out of mothballs and released a bunch of successful movies.

Seen in this light, in inflation-adjusted terms or (especially) in terms of the price of gold, stocks (and the economy) have been in a largely sideways formation since the year 2000. This explains the mixed messages of horror, slasher and happy films’ popularity in recent years, as no trend has clearly dominated. This is also revealed by the hemline indicator, where we have the full spectrum of long and short skirts present at the same time, or the popularity of yoga pants that are often worn as though there’s no skirt at all (hugging every contour) yet no skin in being shown.

A further development of this theory is that in rising bull markets, movie good guys are really good, the bad guys are really bad and the audience identifies with the former. When stock prices are sinking but not yet bombed out, often the protagonist is an anti-hero, but when stocks have gone down hard for long enough, popular fiction usually lacks any good guys at all. Dexter was a great example of a down-but-not-quite-bombed-out stock market story.

I see movies like this one described, or Django Unchained, as mixed-market products where the audience doesn’t quite identify with the protagonist whose bloody actions seem laboriously rationalized by remarkably implausible premises.

“There are many scary things about the movie, but scariest of all is its realistic depiction of racism.”

How about a movie where the scariest thing of all is its realistic depiction of black violent crime? It would be a lot more realistic and therefore presumably scarier. The “victims” of racism suffer what? Hurt feelings? That is not nearly as bad as being shot, stabbed, or raped.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of "frontin'" and "keepin' it real" wherein they fantastically or vicariously try to "pass" as hard-core brothers fightin' the man who's trying to keep 'em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the "Obama anger translator" bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don't know what's behind this, if it's a performance they do to reassure themselves that, deep down, they're still really black enough, or if it's done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It's basically a sort of "internalized minstrelsy" though.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of “frontin’” and “keepin’ it real” wherein they fantastically or vicariously try to “pass” as hard-core brothers fightin’ the man who’s trying to keep ‘em down on the plantation, or something.

Nailed it Thomas. This is black privilege trying to feign the anger of those Black people who legitimately HAD the kind of experiences that would create this kind of “anger.” The last thing we need in this country is Black women generalizing about the evils of “White” women. Get over yourself.

This is black privilege trying to feign the anger of those Black people who legitimately HAD the kind of experiences that would create this kind of “anger.”

There's no such thing as reality anymore. There's no such thing as 'legitimate' experience. Everything, and I mean everything, is spoon-fed MSM agitprop.

Talk to people. Listen to them. As Gore Vidal said, Hollywood movies are the lingua franca of modern society. Given the choice, people believe what they see on TV and Movies far more readily than what happens in their actual lives.

The media are that immediate, and that powerful. Why else do you think control of the media is so important to the Ruling Class? Because from that, everything else springs.

If I can expose myself here, I have no idea what “stanned” means. Am I an idiot or am I just not yet woke to some uncommon term making a resurgence (or recently invented) by feminists or ghetto people?

Either way I’d feel like an idiot because I’m pretty much up on the most commonly used feminist and black terminology. I’m not on the cutting edge but if most members of pretty much any English-speaking American demographic use a word I probably use it when I’m speaking with them as well.

So either I’m a total jackass or “stanned” is a word not yet commonplace among any American English-speaking demographic.

I was baffled too, so I looked it up. It means to be a big, perhaps excessive fan of some star.

It comes from Eminem's well-written rap song "Stan," which is kind of a short story in verse, about a fan who writes increasingly disturbing fan letters to Eminem and eventually commits a murder-suicide in his name.

Tarantino has dated black women I believe, and it shows.Watch the Un Momento scene Of Django Unchained. It is the opposite of the racism in Get Out because, in Django a black man is only interested in his black wife, and taking enormous risks he manages to free her so they can live happy ever after, only because a white man gives him a huge amount of help (and dies doing it)..

Cosmo’s Kendra James hits the bullseye. The film reflects a reality. Whites’ women appropriate blacks’ men, they want the black male bodies. Get Out is like fly on the wall documentary compared to Django. at college black girls might as well be part of the woodwork. If you doubt it read the Salon article a black male writer says Get Out is about ahem “navigating white spaces” and the the problems black men (the movie is all about men’s issues for him) have at college. A major problem he points up is their feet are much bigger than white boys’. What is he getting at? Something to do with the difficulty of navigating white spaces perhaps?

There are aspects of Young Frankensien (Woof! ,’ ‘The monster got your brain what did you get’ ) and a considerable l rip-off of https://en.wikipedia.org/wiki/Society_(film), Get Out is about black men and white women’s sexual power.

It's not my experience that white women want black men's bodies. Numbers may be going up in that direction, I don't know. But it has a low natural plateau. 99% of every interracial couple of that type I've seen has included a low-status female. Almost always overweight, and probably easy. Middle and high-class white women go with white men.

Granted, white female/black male couples are about a billion times more common than white male/black female couples. This despite the generally low standards of males and steep competition in the sexual marketplace for white women. There are plenty of sexless white males, left out of the fun of enjoying the females of their race. But they resort to Asians and browns, not blacks.

Black females are readily available sexually, financially, and so forth, but hard to find because of the social and geographical segregation of the races. Black males, on the other hand, will actively pursue white women, hence the catchphrase "where da white women at?" Which could partially explain the discrepancy. But mostly white women have some level of attraction to black men (tall, very dark, and handsome stranger), whereas no one much likes black women (definitely not the fair sex).

It’s fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

Yeah, but note also how the film plays into Black narcissism. The Whites all want to transfer their minds into "superior" Black bodies....the ultimate expression of White appropriation of Blackness....White girls desiring Black males (as near as I can tell, male to male mind transfers outnumber the female to female variety)....

Get Out definitely strokes the Black ego.....

Someone posted a video a while back about “Hillary Clinton Porn,” i.e. movies which unrealistically portray a Strong Independent Woman who is morally and intellectually superior to the men around her.

In fact, this kind of exploitation is probably a large element in a big percentage of films. People seem to prefer entertainment which also confirms some aspect their world view; which panders to their vanities.

The image of a hulking black man terrorizing a young, innocent, Southern white girl is hardly new in American pop culture. The 1915 movie The Birth of a Nation, the D.W. Griffith silent film about the rise of the KKK in the Reconstruction-era South (commonly known as the first true blockbuster) captured that fear and capitalized on it. Mae Marsh's character was willing to throw herself over a cliff rather than let the villainous black man — played by white actor Walter Long in blackface — get his hands on her; for better or worse, it's an iconic Hollywood moment.

Americans have been conditioned to see black men as threatening for generations, and the consequences of this conditioning range from a pop starlet being able to paint a rapper as a villain for nearly a decade because she feels "bullied" to police officers shooting unarmed men in front of convenience stores because they felt "unsafe." Obviously Kanye's feud with Taylor is far less serious than any death by police shooting, but these cultural moments represent two ends of the same spectrum, a spectrum of systemic racism playing out in America.

His VMAs stunt wasn't nice, no, but it also happened in 2009 and didn't really do any harm to Taylor (on the contrary, it wildly helped her career). But just as we're conditioned to see black men as threatening, we've also been conditioned to respond immediately to the tears and emotions of a white woman. (The defense of a white woman's virtue was once cause for literal lynchings.)

Whether Taylor knows it or not (and I suspect she knows it), if Kim hadn't released those Snapchats, there's a large portion of America that simply would have continued to take her word over Kanye's and believed that he was harassing her in the media out of spite. We're a country structurally set up to protect whiteness over blackness, and at least one reason 2016 has been the dumpster fire that it has been is because of the way America sees black men — and black people — in general. Blackness is threatening, even if the worst thing it's done to you is jump into your spotlight on a Grammys stage or try to sell you some loose cigarettes on the street. While Kim exposing Taylor isn't going to solve racism in America, she's not distracting from the narrative or "real issues" at all. She managed to say, "Keep my man's name out ya mouth," and highlight our country's macro social problems on a micro scale.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won't be killed or beaten by them. Blacks, etc. are turning on a natural ally.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won’t be killed or beaten by them. Blacks, etc. are turning on a natural ally.

I'd liked to see the audience breakdown by race. I can't see sane non-blacks (let alone whites) going to see something like this. I also can't see this being a commercial success overseas (e.g. East Asia) where good-looking white actors/models move a lot of merchandise.

Being profitable is not exactly the point. Getting the kill whitey message out there is worth losing a few million.

Being profitable is not exactly the point. Getting the kill whitey message out there is worth losing a few million.

I don't think you understand the entertainment industry. Sure, it is mostly peopled by leftists, but the rule number one is always "Will it make money?" Believe it or not, Hollywood test-screens films to see what kind of reactions they get from the movie-going audiences.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

Maybe it’s simply that “science as threat” doesn’t work anymore once the population gets used to new technologies.

I don’t think it has anything to do with who it’s meant to appeal to.

Slasher/lost in the woods horror hasn’t really been that popular for a decade now anyway. Honestly the horror that works best isn’t slasher or science horror but fear of the intangible, the unknown, the dark & creepy. Why the Babadook and It Follows worked so well. The Witch was also quite good.

Why any White person would go to the cinema amd use their hard-earned shekels to increase Hollywood cabal power is bewildering.

That is the $64,000 question.

My guess the people who have turned off Hollywood have already done so and what’s left is the moral and mental dross of white society which pumps money into Hollywood the same way they pump untold billions into the NBA and NFL.

All of which are a cultural and moral sewer pipe spewing garbage into white America.

Too bad you already made that point, but it would have been a fun twist. Or, no. Actually, it would be a twist to enrage all the Rotten Tomatoes. Perhaps leave it for the director's cut, eh?

I don’t think the Rotten Tomatoes could have handled it. The only negative review of the movie right now is from Armond White at National Review, who called it the return of the get whitey movie. Even Hidden Figures has a handful of negative reviews, although from reading the blurbs from them, most of those reviewers are attacking it from the left.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

Steve, have you ever seen Blacula (1972)? It was one of the first black-centric horror movies.

As usual, Whitey is to blame:

https://www.youtube.com/watch?v=4XzQabdzAqQ

Ah, Blacula. Three things have always stood out for me:

William Marshall (AKA Dr Daystrom on TOS Star Trek, the ur-example of the Black tech genius trope). He was quite good as the eponymous villain, what with his towering height and trained diction.

Interior Decorators: Yeesh. The two Gay lovers who get fanged by Blacula are maybe the most OTT Gays that I have ever seen

Transylvania, hub of the Trans-Atlantic Slave Trade: Sure, they wanted to work Dracula in, but I still can't figure out why someone trying to end the Trans-Atlantic Slave Trade would go to Transylvania.....

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of "frontin'" and "keepin' it real" wherein they fantastically or vicariously try to "pass" as hard-core brothers fightin' the man who's trying to keep 'em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the "Obama anger translator" bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don't know what's behind this, if it's a performance they do to reassure themselves that, deep down, they're still really black enough, or if it's done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It's basically a sort of "internalized minstrelsy" though.

Or, Occam's Razor, slasher movies displaced guy in a rubber suit movies because the demise of the Hays Code enabled all the gore.

Genre inventors John Carpenter and Wes Craven were both WASPs from Bowling Green, KY and Cleveland, respectively.

Not just gore. Slasher films are substantially about boobies. You hear idiotic commentary about psychos in these movies punishing young people engaged in sex because of, I don’t know, regressive Reagan-era morality, or something. And I can’t entirely rule out that they are, in part at least, a negative reaction to the sexual revolution. But the reason so many death scenes come right after sex scenes is that the filmmakers needed a way to get as many boobs as possible into their movies.

It’s that simple. Same reason why there are so damn many rape scenes in B-movies of all kinds, not just horror, after ’68 or so. Because rape is an easy shortcut to boobs.

There was a fictitious director in an 80s comedy about moviemaking called Sweet Liberty.* He described the mindset perfectly (and I quote): “You know what kids like?…kids go completely ape if you do three things in a picture: defy authority, destroy property, and take people’s clothes off.”

*About a history professor, played by Hawkeye (not Daniel Day Lewis), whose book about a real-life Revolutionary War heroine is butchered by a Hollywood adaptation. It’s not very good.

They're jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

I predicted - and didn't take much mental effort - that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do. Well, those days are drawing to a close, and women probably know it better than anyone. Hence this film that panders to racial hostility and slaps the erstwhile white sistahs across the face.

White women never should have been as intimately involved with black issues as they have been since Eleanor Roosevelt (maybe even Harriet Beecher Stowe), but being tolerant, ever-patient American men we have always indulged them. Big mistake, and of course we'll be blamed for the inevitable result, which will be pretty grim for whites and blacks alike.

The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do.

It was divide and rule targeted at white people – white women were kept on the SJW bus until the numbers game meant they were no longer needed.

It gets suppressed in the official narrative about race in the U.S., but light-skinned blacks and biracial blacks get a lot of grief and rejection from the larger black population. There are two ways to deal with this - say "to hell with it" and integrate better into general society, or prove your allegiance by being the most abrasive, radical members of the black population. Obama successfully made a transition from the former to the latter when he moved to Chicago, calling an audible on his prior act in Hawaii/Columbia as the affable black fellow who wasn't angry.

This isn’t funny anymore, and it’s getting seriously dangerous for white people on a magnitude greater than ever before. Open, rabid hatred of whites is now stoked on a mass scale.

The moment we display any sense of pride and elect someone who instills that in us, we are told to shut up, and those we elect are made to be careful how they affirm this one particular aspect of us.

People talk of Nazis, Hitler? What we now have in America is indeed organized, pre-Holocaust aggression and propaganda — but it is directed at white gentiles.

Anti-white propaganda that encourages violence gets promoted without any condemnation. This is not just a double standard, it’s a double-backflip standard applied with a full nelson and a kick to the head.

Doublethink ploys are used to gaslight suckers into thinking the aggression and racial hatred points the other way.

We really do live under a Bill of Wrongs. I wasn’t joking when I wrote it, and it is not over the top. It is a reflection of how the nation we inherited from our ancestors has been turned against us.

e.g. Amendment I

Congress shall make laws against “hate speech” and the expression of Christian values. Congress shall make no laws against the right of people to violently assemble in opposition to those values.

Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of "frontin'" and "keepin' it real" wherein they fantastically or vicariously try to "pass" as hard-core brothers fightin' the man who's trying to keep 'em down on the plantation, or something. This is the story with Ta-Nehisi Coates, both Jordan Peele and Keegan-Michael Key, and even Obama. I always figured the "Obama anger translator" bit said as much about some desire or wish they (and maybe Obama?) had to be able to at least sound like black bad-asses.

I don't know what's behind this, if it's a performance they do to reassure themselves that, deep down, they're still really black enough, or if it's done for their similarly middle-class white friends and family members (maybe an opportunity to both titillate and amuse a little bit), or a bit of both. It's basically a sort of "internalized minstrelsy" though.

“Middle-class, well-educated (and, often enough, mixed-race) blacks seem to need to do a lot of “frontin’”

The 2000′s version of the tragic mulatto is one of overt overcompensation instead of passing. It’s an obvious sign that being black isn’t the awful handicap it’s claimed to be.

This is actually a pretty good horror-comedy. It's far less bloody than Django Unchained. I enjoyed it more than Stepford Wives, which is completely free of comedy, has poor production values, and loses much of its force if you already know the twist. The racial angle is also rather original, as it's about whites who fetishize blackness.

The racial angle is also rather original, as it’s about whites who fetishize blackness.

Well, from a Black Studies standpoint, it’s quite unoriginal, as the theme of the “fetishization of the Black body” has been done to death. Peele (a Sarah Lawrence grad) has simply applied these notions to a horror film.

I enjoyed it more than Stepford Wives, which is completely free of comedy,

It’s not as funny as Ira Levin’s novel, true, but I would hardly describe the film version as “completely free of comedy.”

The first season of True Detective was notable for its use of philosophical pessimism & antinatalism. It didn't invent any of those ideas, but it was original to use them in a detective story. Movies aren't academia, so making a horror/comedy movie about fetishism rather than fear/hatred of blacks is original.

I think we can place this in the basket of “Things that were green-lit thinking Clinton would win” along with those Super Bowl ads, “When We Rise”, and the upcoming Fox(?) mini-series about blowing the lid off the Kill-Krazy Kops (“Shots Fired”).

It really does make me wonder how many TV series had to do emergency re-shoots (or at least re-edits) after Trump won because they had originally planned to have snide little football-spiking jokes about Trump losing in their shows…

This isn't funny anymore, and it's getting seriously dangerous for white people on a magnitude greater than ever before. Open, rabid hatred of whites is now stoked on a mass scale.

The moment we display any sense of pride and elect someone who instills that in us, we are told to shut up, and those we elect are made to be careful how they affirm this one particular aspect of us.

People talk of Nazis, Hitler? What we now have in America is indeed organized, pre-Holocaust aggression and propaganda -- but it is directed at white gentiles.

Anti-white propaganda that encourages violence gets promoted without any condemnation. This is not just a double standard, it's a double-backflip standard applied with a full nelson and a kick to the head.

Doublethink ploys are used to gaslight suckers into thinking the aggression and racial hatred points the other way.

We really do live under a Bill of Wrongs. I wasn't joking when I wrote it, and it is not over the top. It is a reflection of how the nation we inherited from our ancestors has been turned against us.

e.g. Amendment I

Congress shall make laws against “hate speech” and the expression of Christian values. Congress shall make no laws against the right of people to violently assemble in opposition to those values.

Steve, your article missed something rather large: he was inspired by the 2008 election and wanted to show that liberal whites were a problem.

“It was important to me for this movie not to be about this black guy going to the South, to a red state, where the presumption for a lot of people is that everybody’s racist there,” Peele told the audience. “This was really meant to take a stab at the liberal elite that tends to believe that they’re – we’re – above these things.”

He has said that the 2008 primary motivated him because gender and civil rights battles were the same. But it sounds like, if this movie is as racist against liberal whites as you and others say, the Obama-Clinton race bothered him far more than he’s letting on.

He sounds very disillusioned with liberal whites, calling the post-racial Obama years a lie; sounds like an angry and bitter dude.

How are liberals dealing with this critique of them?

Just seems like inevitable consequence of enabling these kinds of navel-gazing, my-people-are-victims indulgences.

Steve, your article missed something rather large: he was inspired by the 2008 election and wanted to show that liberal whites were a problem.

“It was important to me for this movie not to be about this black guy going to the South, to a red state, where the presumption for a lot of people is that everybody’s racist there,” Peele told the audience. “This was really meant to take a stab at the liberal elite that tends to believe that they’re – we’re – above these things.”

He has said that the 2008 primary motivated him because gender and civil rights battles were the same. But it sounds like, if this movie is as racist against liberal whites as you and others say, the Obama-Clinton race bothered him far more than he’s letting on.

He sounds very disillusioned with liberal whites, calling the post-racial Obama years a lie; sounds like an angry and bitter dude.

Yeah, but as I pointed out upthread, he's being very careful about what flavor of White Liberal he's talking about......Hence, the implicit WASPiness of the evil White family in the film. Had the White family in the film been a bunch of Liberal Jews......well, let's just say that it never would have been financed, at least not by Jason Blum:

Appearing as a countdown in descending order from 100 to 1, Jewish names are widely apparent. Some of the list’s personalities are not yet household names–though they may be now. No. 98, for instance, is Jason Blum, the founder/CEO, Blumhouse Productions who left the horror genre for a “Benji” remake, which constitutes his “big bet” according to THR. Blum’s microbudget pics, “Paranormal Activity,” “Insidious” and “The Purge” and franchise films have grossed more than $1.6 billion on combined budgets of less than $80 million. “The Visit” made $99 million on a $5 million budget and “Insidious: Chapter 3” took in $113 million worldwide on $10 million.

Speaking of “The Malcolm X Files,” here’s Professor Griff of the rap supergroup Public Enemy explaining about how most of the famous black stars of Hollywood had to go through an “Illuminati homosexual ritual” that had something to do with Yale’s Skull and Bones Society.

This would seem like a couple of seasons worth of material right there.

Is there an Alt Black Right? The Alt-Blight? That would be the right standpoint for The Malcolm X Files.

Steve, your article missed something rather large: he was inspired by the 2008 election and wanted to show that liberal whites were a problem.

“It was important to me for this movie not to be about this black guy going to the South, to a red state, where the presumption for a lot of people is that everybody’s racist there,” Peele told the audience. “This was really meant to take a stab at the liberal elite that tends to believe that they’re – we’re – above these things.”

He has said that the 2008 primary motivated him because gender and civil rights battles were the same. But it sounds like, if this movie is as racist against liberal whites as you and others say, the Obama-Clinton race bothered him far more than he's letting on.

He sounds very disillusioned with liberal whites, calling the post-racial Obama years a lie; sounds like an angry and bitter dude.

How are liberals dealing with this critique of them?

Just seems like inevitable consequence of enabling these kinds of navel-gazing, my-people-are-victims indulgences.

Black Nova Scotian on his father's side. Seemingly part Samoan on his mother's side. Which is what he looks like, to my eyes. He resembles many Samoans and part-Polynesians I've seen. Here's a picture of his maternal grandfather

https://en.wikipedia.org/wiki/Peter_Maivia

The Rock got a big voice role in Disney’s successful Polynesian animated film Manoa because he’s part Samoan and because he sells tons and tons of tickets. He was the highest paid star in the world last year.

“Manoa” is a pretty successful example of two crafty old white guys, Clement and Musker, adeptly dealing with all the current political rules and still winding up with the movie they wanted to make.

When I hear the phrase "Pacific Islander" used with Asian, I think of Hawaiians or Samoans but this is a tiny market compared to China. Technically, the term Pacific Islander would also mean Japan, the Philippines, Taiwan, Indonesia, etc. but I am not sure where one ends and the other begins. I also cannot help but remember how my Chinese-American friend referred to Filipinos as the Mexicans of Asia.

He calls you queen. More than likely it’s going to be “black queen” and if you don’t immediately respond favorably to that label he’s going to accuse you of being brainwashed by the white man and not knowing your true name
Netflix and chill is more like documentaries and chill. You might think this brotha is running typical game when he invites you over to watch Netflix, but instead of turning on a RomCom with suggestive sex scenes, he puts on Henry Louis Gates specials or YouTube videos from Dr. Umar Johnson and quizzes you about what you learned after.
His idea of a date is a protest. Coffee? Drinks? Dinner? Nope. Meet him on the steps of the court house with poster board and pen — and be prepared to get locked up if worst comes to worst.
His Instagram is full of black art. You know the naked man and woman cradling a little black baby type of art.
He asks can you cook. Because a woman’s place — after she gets done protesting along side him — is still in the kitchen.
He’s criticized your straight hair. Nevermind you just blew out your normally natural fro, he sees straight hair and immediately assumes you’ve succumbed to Eurocentric beauty standards and gets concerned about how committed you are to the movement.
He uses derogatory terms to describe homosexual men. Everyone’s equal in the fight against racism until he finds out a male protester likes men and denotes him as one of the contributors to the breakdown of the black family.
Street harassment and rape aren’t a priority. He’s all over police brutality and institutional racism but when you mention cat calling and sexual assault he goes silent.
He encourages you to be (extra) fruitful and multiply. Because anything else would satisfy the white man’s agenda of eliminating the black family.

This isn't funny anymore, and it's getting seriously dangerous for white people on a magnitude greater than ever before. Open, rabid hatred of whites is now stoked on a mass scale.

The moment we display any sense of pride and elect someone who instills that in us, we are told to shut up, and those we elect are made to be careful how they affirm this one particular aspect of us.

People talk of Nazis, Hitler? What we now have in America is indeed organized, pre-Holocaust aggression and propaganda -- but it is directed at white gentiles.

Anti-white propaganda that encourages violence gets promoted without any condemnation. This is not just a double standard, it's a double-backflip standard applied with a full nelson and a kick to the head.

Doublethink ploys are used to gaslight suckers into thinking the aggression and racial hatred points the other way.

We really do live under a Bill of Wrongs. I wasn't joking when I wrote it, and it is not over the top. It is a reflection of how the nation we inherited from our ancestors has been turned against us.

e.g. Amendment I

Congress shall make laws against “hate speech” and the expression of Christian values. Congress shall make no laws against the right of people to violently assemble in opposition to those values.

quite – and getting worse all the time

any white person who thinks their kids and grandkids will be safe in a minority white future where the media are so violently anti-white are blinding themselves

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh's character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins).....

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

Speaking of "The Malcolm X Files," here's Professor Griff of the rap supergroup Public Enemy explaining about how most of the famous black stars of Hollywood had to go through an "Illuminati homosexual ritual" that had something to do with Yale's Skull and Bones Society.

https://www.youtube.com/watch?v=a1-Lb-WZpcQ&app=desktop

This would seem like a couple of seasons worth of material right there.

Is there an Alt Black Right? The Alt-Blight? That would be the right standpoint for The Malcolm X Files.

The uncomfortable part of this is that the movie makers know there is a pre-existing market for this genre. People go to horror movies purposely because they want to be thrilled. They go to chick flix to emote (at least the women do), and they go to musicals because they want to be entertained. These genres of movies keep coming, movie after movie, year after year, with very little variation in the themes or plots they just try to stay current with fashions or popular culture.

The Abolitionist Porn producers know they have a built in market too. Like the SPLC and the rest of the grievance industry, they are selling a very consistent product to the same customers. They keep producing the same material because their customers want to feel outraged, angry, and victimized by imaginary white villains.

If this movie had been meant as satire, maybe what the white folks do with Negroes is a commentary on Liberalism.

After all, ‘racists’ want distance from Negroes. It is Libs who call for integration.. but on their own terms. Obama was, in a way, a much transformed Negro. His soul was filled with white conceits of what a Magic Negro should be like.

It is the white Liberal(or Cuckservative) fantasy to have Negroes be like white folks. Mulattos are more appealing because their half-whiteness makes them more accessible. But even when it comes to full-dark Negroes, white Libs prefer the kind that has same interests as whites, like in arts and culture.

It’ turns into a game of Being Barack Malkovich.

How to tame the Negro’s soul so that the Negro body won’t be used to whup whitey.
Injecting the Negro mind with whiteness has been the dream of White Liberalism that, for a long time, even pretended that the only difference between whites and blacks is skin color.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi.

And this scene from 1986′s Soul Man. How that film got made is beyond me.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi.

And this scene from 1986′s Soul Man. How that film got made is beyond me.

According to various stories, the company's model is to produce movies independently and release them wide through the studio system.[6] Blumhouse has a first-look deal with Universal Pictures.[7] Blumhouse's highly profitable credits began in 2009 with Paranormal Activity, which was made for $15,000. The film was released by Paramount Pictures and grossed over $193 million worldwide.[8] Blumhouse produced Insidious, which grossed over $97 million worldwide on a budget of $1.5 million,[9] and Sinister, which grossed over $77 million worldwide from a budget of $3 million.

Speaking of "The Malcolm X Files," here's Professor Griff of the rap supergroup Public Enemy explaining about how most of the famous black stars of Hollywood had to go through an "Illuminati homosexual ritual" that had something to do with Yale's Skull and Bones Society.

https://www.youtube.com/watch?v=a1-Lb-WZpcQ&app=desktop

This would seem like a couple of seasons worth of material right there.

Is there an Alt Black Right? The Alt-Blight? That would be the right standpoint for The Malcolm X Files.

Is there an Alt Black Right?

I don’t think they’d consider themselves alt-right but on twitter 28Sherman and others have spoken positively of “Hoteps”.
Does anyone know much about them?

This movie stars Allison Williams, the daughter of the famous journalist fantasist and former TV star Brian Williams. Williams, when asked about his daughters acting career and her role on HBO's "Girls", said he was very proud of her. That role included her portraying a deviant sexual act that is typically only seen in the sleeziest of pornos.

As John Derbyshire has said: Pop-culture is filth.

Whenever Allison Williams is doing sideline reporting for college football, I think about her deviant sex scene. It’s amazing she gets “legitimate” jobs after that.

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh's character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins).....

Hateful Eight comes to mind as a prominent example
—-
I noticed and was quite disturbed by the level of violence dished out at the “racist” white woman.
Remember what happens after she’s hung ? In how many movies are details like that included ?

Hateful Eight comes to mind as a prominent example
—-
I noticed and was quite disturbed by the level of violence dished out at the “racist” white woman.
Remember what happens after she’s hung ? In how many movies are details like that included ?

Watching it with an audience (predominatly White) was quite disturbing. They laughed every time that she was hit......And they cheered when she was hanged....

If I can expose myself here, I have no idea what "stanned" means. Am I an idiot or am I just not yet woke to some uncommon term making a resurgence (or recently invented) by feminists or ghetto people?

Either way I'd feel like an idiot because I'm pretty much up on the most commonly used feminist and black terminology. I'm not on the cutting edge but if most members of pretty much any English-speaking American demographic use a word I probably use it when I'm speaking with them as well.

So either I'm a total jackass or "stanned" is a word not yet commonplace among any American English-speaking demographic.

“I have no idea what “stanned” means.”

I was baffled too, so I looked it up. It means to be a big, perhaps excessive fan of some star.

It comes from Eminem’s well-written rap song “Stan,” which is kind of a short story in verse, about a fan who writes increasingly disturbing fan letters to Eminem and eventually commits a murder-suicide in his name.

the problem is 'stanned for' sounds like 'stand for', which would also kind of work in context except for being the wrong tense. I assumed the author meant something like 'stood up for' but was let down by her editor.

For some, it’s the 53 percent of white women who voted for Trump, or finding out that the leader of your local NAACP chapter is literally a white woman in disguise.

In case anyone has forgotten, she's talking about Rachel Dolezal:

Rachel Anne Dolezal (also spelled Doležal /ˈdoʊləʒɑːl, -ʒæl/;[4] born November 12, 1977) is an American civil rights activist and former Africana studies instructor. She was president of the National Association for the Advancement of Colored People (NAACP) chapter in Spokane, Washington, from 2014 until June 15, 2015, when she resigned following allegations that she had lied about her racial identity and other aspects of her biography.[5][6][7][8][9] In June 2015, Dolezal came to media attention when her Caucasian parents stated publicly that Dolezal is a white woman passing as black. Their statement followed Dolezal's reports to police and local news media that she had been the victim of nine hate crimes.[8][10][11] Dolezal's critics contend that she has committed cultural appropriation and fraud; Dolezal and her defenders contend her racial identity is genuine while not based on biology or ancestry.[12] In a November 2015 television interview, Dolezal publicly stated for the first time since the controversy began that she was born white but still identifies herself as black

https://en.wikipedia.org/wiki/Rachel_Dolezal

Maybe, for his next movie, Jordan Peele should do a re-make of Invasion of the Body Snatchers.....See, White people start faking Black ancestry as a way to undermine Black organizations. Yeah, he could even lift the scene from the John Carpenter version of The Thing where they draw blood, only now they are testing for Black ancestry....It would be a super-tense scene, a huddled group of "one drop" Blacks feverishly eyeing each other as they wait for the results....

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can’t forgive Rachel Dolezal for being a more attractive “black woman” than most of them can ever hope to be! Sailer’s law of black female commentary in action, of course.

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can’t forgive Rachel Dolezal for being a more attractive “black woman” than most of them can ever hope to be! Sailer’s law of black female commentary in action, of course.

Maybe that explains why Shaun King has been so successful in his foray into trans-racialism*. Black women just don't care about White guys trying to pass as Black....

*

In August 2015, conservative websites questioned King's biracial identity based on information from King's birth certificate which lists Naomi Fleming and Jeffrey Wayne King as Shaun King's parents, both of whom are white.[1] King said that the man listed on his birth certificate is not his biological father, and that his mother has told him his biological father is a light-skinned black man.[46][51] King and his supporters expressed concern that such questions were an attempt to distract from the Black Lives Matter movement

The Rock got a big voice role in Disney's successful Polynesian animated film Manoa because he's part Samoan and because he sells tons and tons of tickets. He was the highest paid star in the world last year.

"Manoa" is a pretty successful example of two crafty old white guys, Clement and Musker, adeptly dealing with all the current political rules and still winding up with the movie they wanted to make.

When I hear the phrase “Pacific Islander” used with Asian, I think of Hawaiians or Samoans but this is a tiny market compared to China. Technically, the term Pacific Islander would also mean Japan, the Philippines, Taiwan, Indonesia, etc. but I am not sure where one ends and the other begins. I also cannot help but remember how my Chinese-American friend referred to Filipinos as the Mexicans of Asia.

Context is everything. The Jamaica Tourism Board (Jamaican government) ran this series of preposterous ads to counter the copious bad publicity which the bloody "Trenchtown Wars" had created since the mid-seventies (Rastas fighting and killing each other over the drug routes to the US).

If memory serves, White tourism took a quick and steady dive after the machete murder of two British tourists on a golf course in Dominica (BWI) one fine tropical day. After Whitehall (British government) left the British West Indies in the mid-sixties, Bob Marley's image had replaced the Queen's in most rural Jamaican post offices by 1975!

https://youtu.be/nrnZSLwfzVs

Rasta Man Vibration, indeed!

The Clash’s 1978 single “Safe European Home” about Joe Strummer was terrified by the crime rate in Jamaica didn’t help the Jamaican tourism industry.

Someone posted a video a while back about "Hillary Clinton Porn," i.e. movies which unrealistically portray a Strong Independent Woman who is morally and intellectually superior to the men around her.

In fact, this kind of exploitation is probably a large element in a big percentage of films. People seem to prefer entertainment which also confirms some aspect their world view; which panders to their vanities.

sabril, I believe that Tarantino movies are blood and guts porn. I offer you the unwatchable “Reservoir Dogs.”

Speaking of "The Malcolm X Files," here's Professor Griff of the rap supergroup Public Enemy explaining about how most of the famous black stars of Hollywood had to go through an "Illuminati homosexual ritual" that had something to do with Yale's Skull and Bones Society.

https://www.youtube.com/watch?v=a1-Lb-WZpcQ&app=desktop

This would seem like a couple of seasons worth of material right there.

Is there an Alt Black Right? The Alt-Blight? That would be the right standpoint for The Malcolm X Files.

Instead of traveling to Antarctica and finding a massive alien craft under the ice, Black Mulder can travel to Egypt and find an ancient black-built spacecraft under the pyramids.

Tarantino has dated black women I believe, and it shows.Watch the Un Momento scene Of Django Unchained. It is the opposite of the racism in Get Out because, in Django a black man is only interested in his black wife, and taking enormous risks he manages to free her so they can live happy ever after, only because a white man gives him a huge amount of help (and dies doing it)..

Cosmo's Kendra James hits the bullseye. The film reflects a reality. Whites' women appropriate blacks' men, they want the black male bodies. Get Out is like fly on the wall documentary compared to Django. at college black girls might as well be part of the woodwork. If you doubt it read the Salon article a black male writer says Get Out is about ahem "navigating white spaces" and the the problems black men (the movie is all about men's issues for him) have at college. A major problem he points up is their feet are much bigger than white boys'. What is he getting at? Something to do with the difficulty of navigating white spaces perhaps?

There are aspects of Young Frankensien (Woof! ,' 'The monster got your brain what did you get' ) and a considerable l rip-off of https://en.wikipedia.org/wiki/Society_(film), Get Out is about black men and white women's sexual power.

Richard Pryor in his 1974 comedy album "that n*-**a is crazy" had a bit where he stated that if the Exorcist had a black cast, its run time would have been 5 minutes after the specter ordered them to "get out". My how times have changed.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

Whorefinder, Old guy here, so the original “Blob” and a movie about a creature they found under the ice at the North Pole scared the crap out of me, but more recently “Alien” made my heart skip a beat.

The image of a hulking black man terrorizing a young, innocent, Southern white girl is hardly new in American pop culture. The 1915 movie The Birth of a Nation, the D.W. Griffith silent film about the rise of the KKK in the Reconstruction-era South (commonly known as the first true blockbuster) captured that fear and capitalized on it. Mae Marsh’s character was willing to throw herself over a cliff rather than let the villainous black man — played by white actor Walter Long in blackface — get his hands on her; for better or worse, it’s an iconic Hollywood moment.

Americans have been conditioned to see black men as threatening for generations, and the consequences of this conditioning range from a pop starlet being able to paint a rapper as a villain for nearly a decade because she feels “bullied” to police officers shooting unarmed men in front of convenience stores because they felt “unsafe.” Obviously Kanye’s feud with Taylor is far less serious than any death by police shooting, but these cultural moments represent two ends of the same spectrum, a spectrum of systemic racism playing out in America.

His VMAs stunt wasn’t nice, no, but it also happened in 2009 and didn’t really do any harm to Taylor (on the contrary, it wildly helped her career). But just as we’re conditioned to see black men as threatening, we’ve also been conditioned to respond immediately to the tears and emotions of a white woman. (The defense of a white woman’s virtue was once cause for literal lynchings.)

Whether Taylor knows it or not (and I suspect she knows it), if Kim hadn’t released those Snapchats, there’s a large portion of America that simply would have continued to take her word over Kanye’s and believed that he was harassing her in the media out of spite. We’re a country structurally set up to protect whiteness over blackness, and at least one reason 2016 has been the dumpster fire that it has been is because of the way America sees black men — and black people — in general. Blackness is threatening, even if the worst thing it’s done to you is jump into your spotlight on a Grammys stage or try to sell you some loose cigarettes on the street. While Kim exposing Taylor isn’t going to solve racism in America, she’s not distracting from the narrative or “real issues” at all. She managed to say, “Keep my man’s name out ya mouth,” and highlight our country’s macro social problems on a micro scale.

Black people hate Taylor Swift because she has never dated a Black guy. The most ethnic guy Taylor Swift has dated is Taylor Lautner who is mostly White with minor Amerindian ancestry. But Taylor Lautner is still not Vibrantly Diverse enough for Black people. So Taylor Swift's dating preference is still seen as racist and not inclusive enough.

I love horror movies (and frequently see them at the cinema; the weekend before last, I was one of the 47 people who saw “A Cure for Wellness,” for example), and I’d actually intended to see this, as it looked amusing. But people on the left are all raving about how it’s a rebuke to “Donald Trump’s racist America,” and so I think I’ll just wait until some TV outlet allows me to see it for free.

Toss Hostel in the mix. Sure, white women in Europe are beautiful and sexually available, but only until they can lure you to an abandoned factory where you'll be tortured to death by sadists who pay a fortune for the experience.

Harry, Geico did a great commercial where a group of white kids hide in the chainsaw/slasher’s shed instead of fleeing in their car…because that’s what you do in a slasher film.

A white "beta" male is just a man who has been civilized. When he was a kid he was as wild as any black boy. At some point in his upbringing, he began to respond to authority when he was called to account for the damage his wildness caused. His "beta"ness represents the dawn of forward thinking in his personality. Most white women "finally conclude" that choosing a "beta" white male is a better deal because as she matures she realizes that forethought trumps animalism almost every time. With no fathers, most black boys are never trained out of their wildness--the key word here being trained.

The Reality Principle (and Adult Morality) is afterthought trying to become forethought. You--meaning any and all of us--more or less succeed in this endeavor.

Three Cranes, Just a thought, but my father’s generation had WWII and the Korean War in which to be Alpha males and heroes, even if they were actually Beta. The Vietnam War made men ashamed to be Alpha, or warriors or heroic, after that all down hill.

Steve, your article missed something rather large: he was inspired by the 2008 election and wanted to show that liberal whites were a problem.

“It was important to me for this movie not to be about this black guy going to the South, to a red state, where the presumption for a lot of people is that everybody’s racist there,” Peele told the audience. “This was really meant to take a stab at the liberal elite that tends to believe that they’re – we’re – above these things.”

He has said that the 2008 primary motivated him because gender and civil rights battles were the same. But it sounds like, if this movie is as racist against liberal whites as you and others say, the Obama-Clinton race bothered him far more than he's letting on.

He sounds very disillusioned with liberal whites, calling the post-racial Obama years a lie; sounds like an angry and bitter dude.

How are liberals dealing with this critique of them?

Just seems like inevitable consequence of enabling these kinds of navel-gazing, my-people-are-victims indulgences.

Steve, your article missed something rather large: he was inspired by the 2008 election and wanted to show that liberal whites were a problem.

“It was important to me for this movie not to be about this black guy going to the South, to a red state, where the presumption for a lot of people is that everybody’s racist there,” Peele told the audience. “This was really meant to take a stab at the liberal elite that tends to believe that they’re – we’re – above these things.”

He has said that the 2008 primary motivated him because gender and civil rights battles were the same. But it sounds like, if this movie is as racist against liberal whites as you and others say, the Obama-Clinton race bothered him far more than he’s letting on.

He sounds very disillusioned with liberal whites, calling the post-racial Obama years a lie; sounds like an angry and bitter dude.

Yeah, but as I pointed out upthread, he’s being very careful about what flavor of White Liberal he’s talking about……Hence, the implicit WASPiness of the evil White family in the film. Had the White family in the film been a bunch of Liberal Jews……well, let’s just say that it never would have been financed, at least not by Jason Blum:

Appearing as a countdown in descending order from 100 to 1, Jewish names are widely apparent. Some of the list’s personalities are not yet household names–though they may be now. No. 98, for instance, is Jason Blum, the founder/CEO, Blumhouse Productions who left the horror genre for a “Benji” remake, which constitutes his “big bet” according to THR. Blum’s microbudget pics, “Paranormal Activity,” “Insidious” and “The Purge” and franchise films have grossed more than $1.6 billion on combined budgets of less than $80 million. “The Visit” made $99 million on a $5 million budget and “Insidious: Chapter 3” took in $113 million worldwide on $10 million.

The last celebrated Hollywood fare I watched I think it was exactly "The hateful eight". Awful, disgusting movie. I will never watch anything by Tarantino again.

I basically stopped going to the movie theaters - although I watched "Silence" in the cinema: a pretty good movie, despite some casting errors. I guess Scorsese had to put some famous faces there to make the producers believe that the film could be a hit (it wasn't, of course; it couldn't be with that theme. Although, come to think of it, it also involves a lot of violence by non-whites on whites).

Dumbo, I am in agreement with you on Tarantino, sorry his name ends in a vowel.

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can't forgive Rachel Dolezal for being a more attractive "black woman" than most of them can ever hope to be! Sailer's law of black female commentary in action, of course.

Hotep (ḥtp) is an Egyptian word that roughly translates as "to be at peace". It is regularly found in the names of ancient Egyptian figures such as Hotepsekhemwy (ḥr ḥtp-sḫm.wj "the two powers are at peace"), the first ruler of Egypt's Second Dynasty.[1]
Hotep is rendered in hieroglyphs as an altar/offering table (Gardiner R4). It has special semantic meanings in the Ancient Egyptian offering formula, also known as the ḥtp-dỉ-nsw formula, to refer to the "boon given by the king," or the food and goods on which a dead soul was supposed to subsist during the afterlife.[2]
Hotep is the Egyptological pronunciation of Egyptian ḥtp (Gardiner p 579 and 617 = law). The phrase m ḥtp has been translated to mean literally from law "peace" (Gardiner p 583 and 620 "to rest" "be satisfied", "peace", "become at peace" and "at ease") as in the Egyptian philosophy of living the life in Maat

And at the last from inner Egypt came
The strange dark One to whom the fellahs bowed;
Silent and lean and cryptically proud,
And wrapped in fabrics red as sunset flame.
Throngs pressed around, frantic for his commands,
But leaving, could not tell what they had heard;
While through the nations spread the awestruck word
That wild beasts followed him and licked his hands.

Soon from the sea a noxious birth began;
Forgotten lands with weedy spires of gold;
The ground was cleft, and mad auroras rolled
Down on the quaking citadels of man.
Then, crushing what he chanced to mould in play,
The idiot Chaos blew Earth’s dust away.

One of the advisors to Pharaoh in The Prince of Egypt is named Hotep.
"Hotep" is a commonly used greeting in Afrocentric circles.[6][7]

Taken from https://infogalactic.com/info/Hotep#In_popular_culture

Hoteps are black guys from the "we waz kangz" world who got off the "hate whitey" train at some point. Hotep guys are basically black nationalists who usually don't have much of a problem with the idea of separation between blacks and whites. They're just not that angry at whites. They'd rather focus on black self-improvement. Hoteps don't like the BLM translesbo takeover of black nationalism and BLM hates them back.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi.

And this scene from 1986's Soul Man. How that film got made is beyond me.

William Marshall (AKA Dr Daystrom on TOS Star Trek, the ur-example of the Black tech genius trope). He was quite good as the eponymous villain, what with his towering height and trained diction.

Interior Decorators: Yeesh. The two Gay lovers who get fanged by Blacula are maybe the most OTT Gays that I have ever seen

Transylvania, hub of the Trans-Atlantic Slave Trade: Sure, they wanted to work Dracula in, but I still can’t figure out why someone trying to end the Trans-Atlantic Slave Trade would go to Transylvania…..

"...using an implausible weapon, a lacrosse stick. This is presumably included as a nod to the 2006 Duke lacrosse team hate hoax .."

Or a nod to the white boys who were driven out of football by blacks, then driven out of soccer by Mexicans, and who took refuge in lacrosse.

Was anyone strangled with a volleyball net by a tall white girl?

Thirdwin, An implausible weapon only in the hands of a white boy, but I dare you to play “Box” lacrosse on the reservation with a group of braves. Lacrosse was, in the Iroquois or Mohawk language, “Little War.” The boys would cut the rawhide where it exited the side of a wooden stick on the bias and then lacquer the points to make a saw blade, drag that across the side of your neck or calf. I have several old wooden sticks that would make excellent weapons.

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can't forgive Rachel Dolezal for being a more attractive "black woman" than most of them can ever hope to be! Sailer's law of black female commentary in action, of course.

https://www.youtube.com/watch?v=XypZhKzmvZY

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can’t forgive Rachel Dolezal for being a more attractive “black woman” than most of them can ever hope to be! Sailer’s law of black female commentary in action, of course.

Maybe that explains why Shaun King has been so successful in his foray into trans-racialism*. Black women just don’t care about White guys trying to pass as Black….

*

In August 2015, conservative websites questioned King’s biracial identity based on information from King’s birth certificate which lists Naomi Fleming and Jeffrey Wayne King as Shaun King’s parents, both of whom are white.[1] King said that the man listed on his birth certificate is not his biological father, and that his mother has told him his biological father is a light-skinned black man.[46][51] King and his supporters expressed concern that such questions were an attempt to distract from the Black Lives Matter movement

I wonder what the market would be if they came out with a new Death Wish movie. I doubt it would win an Oscar but my guess is that it would be so radio active it would completely ruin the black grievance genre for the next 100 years.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi.

And this scene from 1986's Soul Man. How that film got made is beyond me.

https://www.youtube.com/watch?v=XbX9U622I5Q

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi.

And this scene from 1986′s Soul Man. How that film got made is beyond me.

Context is everything. The Jamaica Tourism Board (Jamaican government) ran this series of preposterous ads to counter the copious bad publicity which the bloody "Trenchtown Wars" had created since the mid-seventies (Rastas fighting and killing each other over the drug routes to the US).

If memory serves, White tourism took a quick and steady dive after the machete murder of two British tourists on a golf course in Dominica (BWI) one fine tropical day. After Whitehall (British government) left the British West Indies in the mid-sixties, Bob Marley's image had replaced the Queen's in most rural Jamaican post offices by 1975!

https://youtu.be/nrnZSLwfzVs

Rasta Man Vibration, indeed!

Detective, my wife had a long and prosperous career in the travel business, Jamaica was always a hard sell.A beautiful island populated by people who were quite willing to kill, figuratively, the Golden Goose that was tourism. Rude, crude and differential barely covers the Jamaican attitude towards tourist, and I visited the island three times, staying only at 4 star properties.

Hotep (ḥtp) is an Egyptian word that roughly translates as “to be at peace”. It is regularly found in the names of ancient Egyptian figures such as Hotepsekhemwy (ḥr ḥtp-sḫm.wj “the two powers are at peace”), the first ruler of Egypt’s Second Dynasty.[1]
Hotep is rendered in hieroglyphs as an altar/offering table (Gardiner R4). It has special semantic meanings in the Ancient Egyptian offering formula, also known as the ḥtp-dỉ-nsw formula, to refer to the “boon given by the king,” or the food and goods on which a dead soul was supposed to subsist during the afterlife.[2]
Hotep is the Egyptological pronunciation of Egyptian ḥtp (Gardiner p 579 and 617 = law). The phrase m ḥtp has been translated to mean literally from law “peace” (Gardiner p 583 and 620 “to rest” “be satisfied”, “peace”, “become at peace” and “at ease”) as in the Egyptian philosophy of living the life in Maat

And at the last from inner Egypt came
The strange dark One to whom the fellahs bowed;
Silent and lean and cryptically proud,
And wrapped in fabrics red as sunset flame.
Throngs pressed around, frantic for his commands,
But leaving, could not tell what they had heard;
While through the nations spread the awestruck word
That wild beasts followed him and licked his hands.

Soon from the sea a noxious birth began;
Forgotten lands with weedy spires of gold;
The ground was cleft, and mad auroras rolled
Down on the quaking citadels of man.
Then, crushing what he chanced to mould in play,
The idiot Chaos blew Earth’s dust away.

With so many of the movies I see commercials or trailers for, I'm left wondering, who would be entertained by this movie? Is this finally showing up in the box office numbers? It wasn't this way until the last few years.

I’m left wondering, who would be entertained by this movie?

Those who grew up learning American history from people who were not so much teachers as preachers, and what they preached was a gospel that claimed America was only about injustice, oppression, bigotry, and animosity toward minorities.

Perception is reality. Listen to the early Beach Boys and the world feels like a sunny day. Get told enough times that the country was built on hate and oppression and you see things permanently as if it’s 1965 in Selma. Those kind of people will take to this movie, because their day-to-day reality is at odds with what they were taught and they need something to confirm what they believe.

The image of a hulking black man terrorizing a young, innocent, Southern white girl is hardly new in American pop culture. The 1915 movie The Birth of a Nation, the D.W. Griffith silent film about the rise of the KKK in the Reconstruction-era South (commonly known as the first true blockbuster) captured that fear and capitalized on it. Mae Marsh's character was willing to throw herself over a cliff rather than let the villainous black man — played by white actor Walter Long in blackface — get his hands on her; for better or worse, it's an iconic Hollywood moment.

Americans have been conditioned to see black men as threatening for generations, and the consequences of this conditioning range from a pop starlet being able to paint a rapper as a villain for nearly a decade because she feels "bullied" to police officers shooting unarmed men in front of convenience stores because they felt "unsafe." Obviously Kanye's feud with Taylor is far less serious than any death by police shooting, but these cultural moments represent two ends of the same spectrum, a spectrum of systemic racism playing out in America.

His VMAs stunt wasn't nice, no, but it also happened in 2009 and didn't really do any harm to Taylor (on the contrary, it wildly helped her career). But just as we're conditioned to see black men as threatening, we've also been conditioned to respond immediately to the tears and emotions of a white woman. (The defense of a white woman's virtue was once cause for literal lynchings.)

Whether Taylor knows it or not (and I suspect she knows it), if Kim hadn't released those Snapchats, there's a large portion of America that simply would have continued to take her word over Kanye's and believed that he was harassing her in the media out of spite. We're a country structurally set up to protect whiteness over blackness, and at least one reason 2016 has been the dumpster fire that it has been is because of the way America sees black men — and black people — in general. Blackness is threatening, even if the worst thing it's done to you is jump into your spotlight on a Grammys stage or try to sell you some loose cigarettes on the street. While Kim exposing Taylor isn't going to solve racism in America, she's not distracting from the narrative or "real issues" at all. She managed to say, "Keep my man's name out ya mouth," and highlight our country's macro social problems on a micro scale.

Hateful Eight comes to mind as a prominent example
----
I noticed and was quite disturbed by the level of violence dished out at the "racist" white woman.
Remember what happens after she's hung ? In how many movies are details like that included ?

Hateful Eight comes to mind as a prominent example
—-
I noticed and was quite disturbed by the level of violence dished out at the “racist” white woman.
Remember what happens after she’s hung ? In how many movies are details like that included ?

Watching it with an audience (predominatly White) was quite disturbing. They laughed every time that she was hit……And they cheered when she was hanged….

They're jumping the gun here. There are still a lot of white women in America, and they are still highly influential.

I predicted - and didn't take much mental effort - that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do. Well, those days are drawing to a close, and women probably know it better than anyone. Hence this film that panders to racial hostility and slaps the erstwhile white sistahs across the face.

White women never should have been as intimately involved with black issues as they have been since Eleanor Roosevelt (maybe even Harriet Beecher Stowe), but being tolerant, ever-patient American men we have always indulged them. Big mistake, and of course we'll be blamed for the inevitable result, which will be pretty grim for whites and blacks alike.

I predicted – and didn’t take much mental effort – that feminism would decline as race became more important years ago. The silly men vs. women charade of the last four decades was the result of a civilization with nothing better to do.

I think it was a bit more sinister than that. American feminism was a creation of the state and business interests designed to keep wages from rising by flooding the labor pool with newly “liberated” women. It worked, too, which is why wages have stagnated since the ’70s.

According to various stories, the company’s model is to produce movies independently and release them wide through the studio system.[6] Blumhouse has a first-look deal with Universal Pictures.[7] Blumhouse’s highly profitable credits began in 2009 with Paranormal Activity, which was made for $15,000. The film was released by Paramount Pictures and grossed over $193 million worldwide.[8] Blumhouse produced Insidious, which grossed over $97 million worldwide on a budget of $1.5 million,[9] and Sinister, which grossed over $77 million worldwide from a budget of $3 million.

I think that Whiskey has made this point but blacks, Hispanics, etc. attacking white women may be the distillation of stupid: white women may finally conclude that however much they may hate, hate, hate white beta males, at least they won’t be killed or beaten by them. Blacks, etc. are turning on a natural ally.

It is Ash Wednesday and I thought I would be more Christian but that word made me think…where is the movie about Channon Christian and Christopher Newson, abducted, tortured, raped and slaughtered in the most horrific manner? White women need to see a movie about Channon and white men too. Racial hatred that would make Django Unchain look like a Sponge Bob movie. Makes me sick to my stomach.

The minds of an astonishing proportion of young white people have been successfully colonized by antiwhite thinking. Some of the nerdy/middling IQ blacks who assimilate into white culture end up assimilating into this antiwhite culture. It's quite alluring for such POCs. Especially for women who don't mind that much being thrust into high status positions without having earned it.

The image of a hulking black man terrorizing a young, innocent, Southern white girl is hardly new in American pop culture. The 1915 movie The Birth of a Nation, the D.W. Griffith silent film about the rise of the KKK in the Reconstruction-era South (commonly known as the first true blockbuster) captured that fear and capitalized on it. Mae Marsh's character was willing to throw herself over a cliff rather than let the villainous black man — played by white actor Walter Long in blackface — get his hands on her; for better or worse, it's an iconic Hollywood moment.

Americans have been conditioned to see black men as threatening for generations, and the consequences of this conditioning range from a pop starlet being able to paint a rapper as a villain for nearly a decade because she feels "bullied" to police officers shooting unarmed men in front of convenience stores because they felt "unsafe." Obviously Kanye's feud with Taylor is far less serious than any death by police shooting, but these cultural moments represent two ends of the same spectrum, a spectrum of systemic racism playing out in America.

His VMAs stunt wasn't nice, no, but it also happened in 2009 and didn't really do any harm to Taylor (on the contrary, it wildly helped her career). But just as we're conditioned to see black men as threatening, we've also been conditioned to respond immediately to the tears and emotions of a white woman. (The defense of a white woman's virtue was once cause for literal lynchings.)

Whether Taylor knows it or not (and I suspect she knows it), if Kim hadn't released those Snapchats, there's a large portion of America that simply would have continued to take her word over Kanye's and believed that he was harassing her in the media out of spite. We're a country structurally set up to protect whiteness over blackness, and at least one reason 2016 has been the dumpster fire that it has been is because of the way America sees black men — and black people — in general. Blackness is threatening, even if the worst thing it's done to you is jump into your spotlight on a Grammys stage or try to sell you some loose cigarettes on the street. While Kim exposing Taylor isn't going to solve racism in America, she's not distracting from the narrative or "real issues" at all. She managed to say, "Keep my man's name out ya mouth," and highlight our country's macro social problems on a micro scale.

I was making picks with a friend, telling him the Oscars are now "all Black all the time". He doubted me, but I based my picks purely on race, while he played it straight, and I had more correct picks than he did.

Just what you’d expect if you “elect a new people”. The newspapers have reported that lots of old white Academy members were “retired” and replaced by “minority” members who, if presidential election behavior is predictive, probably voted “black” 85 to 98%. The remaining white members probably split their vote amongst all categories by perceived quality, only slightly biased toward black.

I wonder what the market would be if they came out with a new Death Wish movie. I doubt it would win an Oscar but my guess is that it would be so radio active it would completely ruin the black grievance genre for the next 100 years.

They avoided the race component to New York City crime in the original Death Wish movie. One of the killers was played by Jeff Goldblum.

Obsidian ( an altright friendly manosphere hotep kind of guy) argues that black women just can’t forgive Rachel Dolezal for being a more attractive “black woman” than most of them can ever hope to be! Sailer’s law of black female commentary in action, of course.

Maybe that explains why Shaun King has been so successful in his foray into trans-racialism*. Black women just don't care about White guys trying to pass as Black....

*

In August 2015, conservative websites questioned King's biracial identity based on information from King's birth certificate which lists Naomi Fleming and Jeffrey Wayne King as Shaun King's parents, both of whom are white.[1] King said that the man listed on his birth certificate is not his biological father, and that his mother has told him his biological father is a light-skinned black man.[46][51] King and his supporters expressed concern that such questions were an attempt to distract from the Black Lives Matter movement

https://en.wikipedia.org/wiki/Shaun_King#Questions_regarding_race

Much as I enjoy raking Shaun King over the coals, he does *look* partially black.

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

It’s also how truly badass blacks like Dennis Rodman, Latrell Sprewell, Mike Tyson and Fifty Cent tend to like Trump. They don’t have to prove blackness.

It's fascinating how blacks can go from absolutely cock-sure about how superior they are to whites to absolutely paranoid and terrified that whites are so insanely intelligent and powerful that slavery and/or the Black Holocaust is right around the corner of every smile. And it can happen in the blink of an eye.

It's funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the "mad scientist" character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you'll note, Marty's father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror's themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related? In the pre-1970s, there were a lot of movies aimed at gentile whites who were fascinated by the scientific advances in their lifetimes: a person born in 1910 would have seen radio, indoor plumbing, atomic bombs, black and whtie TV, color TV, washing machines, refrigeration, and a Moon Landing coming in his lifetime, yet have remembered a time when none of these existed. That would have made science and science advancement very heavy in his mind.

The 1970s-onwards didn't see such huge leaps, had grown up taking for granted such science, and were more concerned with what they lost: lost the ability to camp and live without such luxuries, lost a connection with the land, etc.

The shift also speaks to who was making the movies, and for whom. White gentile males would have been more at home in the woods, from either farm work or their trips with the boy scouts and hunting with dad, so a slasher-in-the-woods was less scary than what the Russians might drop on us. Many had served proudly in the military and had done training in the hills; if a slasher had appeared during a trip to the woods, the guys would have either known how to get to the nearest town(and fix the car that always stalls out in horror films) or else organized and hunted down the slasher themselves.

But Blacks and Jews both share a stereotype of absolutely hating nature and the woods---as Steve has noted, few blacks visit national parks. Both groups are city folk.

Blacks also fear the white country folk who, according to legends, were hanging them left and right just for looking at them wrong, not like the weak whites in cities who bow before them. Jews, meanwhile, carry the Woody Allen highlighted insecurity of being "less manly" than gentiles, i.e. having allergies, never being farmers, hating hunting, never being boy scouts, etc. And of course, both groups insecurities about white gentiles having pioneered America and hewn it out of wildness, while they are just late arrivals.

So perhaps the post-1970s shift was just filmmakers making horror movies preying on what Jews/Blacks male fears, and ignoring white gentile male fears. So that Get Out is so blatantly anti-white gentile is just a further advancement of the who? whom? of the Left---and a sign of how scared they really are of us.

Forgot to add that the original Ghostbusters was also a partial homage to those old horror movies, seen from a comedic-moneymaking point of view—the ghosts are scary, but after the first scene with the librarian-ghost, the men don’t act scared of the ghosts but more like guys on a harried job trying to figure out how to get rid of an ghost they are facing.

Dan Aykroyd (who wrote it) is famous for his belief in the paranormal, but studies it like a scientist, not like some mystic gypsy woman.

This essay seems like the kind of thing you didn’t see all that much of before about Obama’s second term.[...] This kind of naked racial hostility was less socially encouraged before about 2012 or 2013.

It’s not so much about the exact timing, or the degree to which blame rests at the feet of the Obama administration, but that is one of the more illuminating analyses I’ve read concerning what has transpired socially with regard to race relations. The construct of a racial detente and its ongoing collapse is spot on.

(I’m not positive, but I don’t think it was previously linked to from this blog)

David Byrne and Brian Eno removed a song that used Islamic chants from the Qur'an from their 1981 album "My Life In The Bush Of Ghosts" when it was re-released. An Islamic group from London told them it was blasphemous to put their electronic grooves alongside the Islamic verses. David Byrne said, "We didn't want to provoke."

Hillary Clinton was not the inspiration for "The Jezebel Spirit" on the album, although she could have been. The album is famous for its use of voice samples and electronic groove.

Hoteps are black guys from the “we waz kangz” world who got off the “hate whitey” train at some point. Hotep guys are basically black nationalists who usually don’t have much of a problem with the idea of separation between blacks and whites. They’re just not that angry at whites. They’d rather focus on black self-improvement. Hoteps don’t like the BLM translesbo takeover of black nationalism and BLM hates them back.

He said the Black woman's body is made for sex. That's why the universe gave me thick thighs & a fat ass.

Netflix and chill is more like documentaries and chill. You might think this brotha is running typical game when he invites you over to watch Netflix, but instead of turning on a RomCom with suggestive sex scenes, he puts on Henry Louis Gates specials or YouTube videos from Dr. Umar Johnson and quizzes you about what you learned after.

http://www.theroot.com/hotep-explained-1790854506

If you happen to attend a Juneteenth festival this year and collect business cards from vendors there, at least 17 percent of them will have “Hotep” written somewhere on them.

http://hotepnation.com/hotep-faq-frequently-asked-questions/

Why are Hoteps always coming for black people?Many times it is a defensive response to the many attacks received but for the most part, it is tough love. The Hoteps want to see better for their black cousins and believe in their potential. It’s like a parent’s criticism of a child who will not push to reach their potential but instead chooses a path of excuses and complacency.

Hotep Twitter is the home of the #StayWoke crowd of men who claim to represent the roots of Africa or whatever…but deep down they display misogynist and homophobic traits. Their statuses make little sense and usually offend more than help. If you’ve never come in contact with one of these Hotep men, consider yourself lucky. Just make sure that you stay aware so you can run for help when they appear. Keep your eye on the Hoteps and #StayWoke.

Is Cosmo now a black magazine? I thought it was aimed at bubbleheaded white women. Oh… wait… maybe it still is.

The women's mags are overrun with SJWs these days.

The minds of an astonishing proportion of young white people have been successfully colonized by antiwhite thinking. Some of the nerdy/middling IQ blacks who assimilate into white culture end up assimilating into this antiwhite culture. It’s quite alluring for such POCs. Especially for women who don’t mind that much being thrust into high status positions without having earned it.

I have a policy of seeing almost every SF movie that comes out in order to encourage HW to keep making them . The idea being that in 1 out of 10 POS there will be a good one . And 1 out of 100 there will be an Aliens . So this thing is thing is coming out this month : http://www.imdb.com/title/tt5442430/?ref_=nv_sr_2

While sending this group of Millennial idiots into space would be begging for disaster , I will probably see it . I will let you know with a simple thumbs up or down what I think . If Steve doesn’t first .

Interesting. It seems that Jordan Peele may have lifted the plot germ from The Skeleton Key:

Caroline Ellis is a hospice aide who takes the position as caregiver at an isolated plantation house. The lady of the house, Violet Devereaux, looks after her husband Benjamin Devereaux, who has had a stroke. With some prompting from the family's estate lawyer, Luke Marshall, Caroline accepts the position.
Caroline, using a skeleton key that Violet gave her, makes her way to the attic (where Ben had his stroke) and finds a secret room. She discovers dolls, a book of spells, potion jars, and various other magical paraphernalia. Violet reveals to Caroline that the room belonged to two house servants who were employed there 90 years prior. The couple, Mama Cecile and Papa Justify were renowned practitioners of Hoodoo and were lynched for practicing spells with the original owners' children. Violet also tells Caroline that they do not keep mirrors in the house because they see the reflection of the servants in them.

Violet confirms that hoodoo cannot work unless one believes, and that she doubts Caroline's protestation that she does not believe. Violet then pushes a mirror at Caroline, which reflects one of the children, then Violet, and lastly Mama Cecile. The two fall unconscious and switch bodies as a recording of the Conjure plays.
Upon waking up, "Caroline" gives "Violet" a liquid that causes a pseudo-stroke so that she can not reveal the truth about Mama Cecile and Papa Justify. When Caroline's friend Jill arrives at the plantation, Luke informs her that Ben and Violet left the house to Caroline, thus allowing Mama Cecile and Papa Justify to continue occupying the house. The film ends with Caroline and Luke looking at each other helplessly, trapped in the dying bodies of Violet and Ben.

The last celebrated Hollywood fare I watched I think it was exactly “The hateful eight”. Awful, disgusting movie. I will never watch anything by Tarantino again.

I stopped watching his drek when the Nazi-bashing one was announced. Actually, I could only watch about 1/3 of Kill Hill, or whatever it was. Last movie of his I watched all the way through was Jackie’s Nap, something like that.

“light-skinned blacks and biracial blacks get a lot of grief and rejection from the larger black population. ”

In Haiti the mulatto elite was killed by the darker blacks.

The word is “colorism.” NPR even defined it the other day, something like “prejudice based on skin tone.” Since the left defines racism as “prejudice based on skin color,” you might want to check with them as to the difference between “skin tone” and “skin color.”

Is this some sort of new-fangled slang term that I’ve never heard before, or just illiteracy?

The word is “ebonics,” though you might want to check with the left as to the difference between “ebonics” and “illiteracy.”

A white “beta” male is just a man who has been civilized. When he was a kid he was as wild as any black boy. At some point in his upbringing, he began to respond to authority when he was called to account for the damage his wildness caused. His “beta”ness represents the dawn of forward thinking in his personality. Most white women “finally conclude” that choosing a “beta” white male is a better deal because as she matures she realizes that forethought trumps animalism almost every time. With no fathers, most black boys are never trained out of their wildness–the key word here being trained.

Yes, it’s Homo Sapiens Sapiens, not Homo Alogos Alogos, or the like.

Note that the critics who gave the film a 99% approval rating are mostly white so it’s clear that the real problem is all of the white enablers who make this trash possible; these are the real deplorables.

Yes, most people think of drug addicts as worse than drug pushers, johns as worse than pimps, etc. Oh, wait, no they don’t.

Awakened Whites shouldn’t be supporting Hollywood anyway. There are plenty of places online to stream movies for free, even ones that have just opened in the theatres.

I’m trying to think of the last movie I paid for. Oh yeah, Dredd. Bought two copies and gave one away, actually. Before that, I think it was 300.

Black skin "tone" is jazzy, with lots of blue notes. (Their hearts beat in swing time, as well, but that's another subject.) White skin tone is much like white noise: after a while you can't tell it's even there. Not very interesting, probably because it's not covering those fascinatin' black bodies. (White bodies are as boring as everything white.)

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

https://en.wikipedia.org/wiki/Chelsea_Peretti

**https://en.wikipedia.org/wiki/Get_Out_(film)

The thing about THE GRADUATE and STEPFORD WIVES.

Even though THE GRADUATE conveys certain Jewish neurosis, I don’t see it as anti-gentile or even anti-wasp. It’s a movie about obsession, and everything at odds with Ben’s obsession seems alien and hostile. Ben doesn’t get along with anyone, even those who are trying to be nice to him. He shuts out everyone at the party. He shuts out his parents. He shuts out Mr. Robinson who treats him like a son. He does open up to Mrs. Robinson, and in loyalty to her, shuts out Elaine. But when his heart goes for Elaine, he shuts out Mrs. Robinson. His current obsession is the ONLY reality. And so everyone at odds with his obsession-of-the-moment becomes the ‘new hitler’. He can’t even stand hip young people at the hamburger joint cuz they’re playing the music too loud and messing up his gab with Elaine. And Richard Dreyfus and Norman Fell, who don’t look waspy, are also at odds with him. (Fell’s character of McCleery is one of my all-time fav’s. We need more men like to put the young ones in place. “You’re not one of those agitators… I hate that. I won’t stand for it.” Damn boomers got rid of the McCleeries of the world.)

True, his final mission goes up against a the makeout king of a wasp fraternity, but I think even those who root for Ben know what a loon he is. What he does is insane.
Also, if there is a villain(ess) in the film, it is Mrs. Robinson, and her role isn’t very waspish. She likes act Susan Sontag if she’d been relegated to being a housewife. She certainly doesn’t stand for 1950s wasp repression and family values.

THE GRADUATE is something of a comedy, but its obsessions are too deep for the film to be fully comedic. Besides, if Woody Allen began in comedy and went serious later, Nichols, despite his comic background, plunged into European Art House style from the start. So, the result is like sitcom crossed with Antonioni movie, like Dick Van Dyke Show doing mock-tennis with BLOW-UP. And the emotions in THE GRADUATE have an element of sincerity(if of the mad king), and ‘sounds of silence’, ‘april come she will’, and ‘scarborough fair’ on the soundtrack supply the melancholy, alienation, depression.

Though considered dated by some, it still looks futuristic, like 2001: A SPACE ODYSSEY. It is like sci-fi fantasy of suburban life. And this futurism is tied closely with whiteness, something that California lost as it went for Diversity. It now looks like futurist-nostalgia.
THE GRADUATE, like AMERICAN GRAFFITI and BIG WEDNESDAY(and HAROLD AND MAUDE), is a memory trip of how California once used to be. And yet, because they are about youth facing the future, dawn of a radical new era, they are comforting and exciting at the same time. It’s like returning to certainty of uncertainty.

THE GRADUATE is a key film, situated somewhere between PSYCHO — the editing of nude Bancroft recalls shower-scene editing in the Hitchcock film(Nichols also took some pointers from Welles’ THE TRIAL) — and THE GODFATHER. (They should do a fusion movie called THE GRADFATHER where a son of a mafia boss graduates and is given advice about ‘just one word… cement’.) Ben and Michael follow a similar trajectory. Both are young, out of school, and worried about their future. Difference is Michael grew up in a more strongly defined cultural setting, and he even makes ‘aliyah’ to Sicily. Also, an attempt was made on his father’s life, and he got socked in the jaw. He also served in war. So, he got toughened up. He was able to put away childish things. In contrast, Ben had it nice and easy all his life. His parents were always there. But there was nothing particularly cultural or ethnic about the family. Ben doesn’t know what he is other than a student and consumer and future professional. Also, no one tried to kill his pa. And Ben didn’t have to serve in war, like Norman Mailer who was deeply marked by war. So, the film is about a man searching for meaning and finding true love through the oddest set of circumstances. We are not even sure if he’s really in love with Elaine or with the emotions of a particular moment with Elaine. It may be more about how she made him at a certain moment than herself. (They don’t really get to know each other like Oliver and Jenny in LOVE STORY.) It’s like we’re not what exactly Scotty fell in love with in VERTIGO. Love creates its own myths, and the power of myth derives from unattainable-ness. Once attained, the meaning changes or is lost … and final scene where Ben has won Elaine has him falling back into the question of what life is all about.

THE GRADUATE is ultimately memorable for the look, mood, and music. Nichol had the right touch. Its mood-ism had big influence films such as THE SWIMMER(clumsy but nice try), HAROLD AND MAUDE, LOVE STORY, RISKY BUSINESS, SOMETHING WILD, MIDNIGHT COWBOY, ONE FLEW OVER THE CUCKOO’S NEST, and later the TWILIGHT movies(which have nothing going for them but look and mood). Some films aped THE GRADUATE, just like so many gangster or political films aped THE GODFATHER. The adaptation of Ellis novel LESS THAN ZERO is prolly the biggest copycat movie of THE GRADUATE. Doesn’t work though not entirely worthless.

Nichols wasn’t exactly original and copped ideas & styles from others, but he fused the right elements in right doses in the right way to create something singular. In some ways, his crafty wit even pushed him beyond the masters he admired. While Nichols couldn’t have conceived of L’AVVENTURA, it’s also true Antonioni couldn’t have made something so artful and entertaining as THE GRADUATE even if he tried. (MIDNIGHT COWBOY is another movie that took European art-film elements for conventional narrative purposes, but such ‘accusation’ could overlook the fact that Schlesinger, in some respects, went beyond what the European auteurs did.) You can see it and note the references and allusions, but there never was and never has been anything quite like THE GRADUATE(with the possible exception of mood-perfect HAROLD AND MAUDE and MCCABE AND MRS MILLER). THE GRADUATE sucks you into more than a story about characters and places. We feel as if in a lucid dream. It’s like 3D effect owing to Nichols’ mastery of mood. Like a fish inside an aquarium.

Also, it’s the little things that make the whole, and THE GRADUATE was crafted with the care of a watch-maker. The camera moves or zooms in and out, swims or sinks in perfect sync with Ben’s emotions. If ever a movie captured the mood of a single character, this was it, though Hitchcock led the way with VERTIGO and PSYCHO(it’s about Janet Leigh’s moods up to the shower scene) and Kubrick with LOLITA. COOL HAND LUKE, another 1967 flick, was also a triumph of singular mood, in some ways all the more remarkable since it’s about a man locked up with other men. Because THE GRADUATE is always about Ben’s moods and hangups, the effect is rather like BEING BENJAMIN BRADDOCK, variation of Malkovich. It’s like we put on scuba-gear and dove into Ben’s soul like in FANTASTIC VOYAGE.

There had been movies with strong personalities and passions, but the Hollywood system insisted on a certain house style, and prior to the 60s, it was near-impossible for any director to make something truly singular, or ‘different’, as Braddock might say. Even a film as personal as VERTIGO has much of the Classic Hollywood look that Hitchcock had to adhere to and had grown accustomed to. It could go halfway in personalism but not fully. So, even a landmark film like REBEL WITHOUT A CAUSE or SPLENDOR IN THE GRASS looks conventional and familiar. Things really began to change in the 60s, and THE MANCHURIAN CANDIDATE was one weird movie. No movie had felt that ‘off’. The difference was its sense of ease with strangeness(despite being about military men), as was the case with DR. STRANGELOVE. The weirdness wasn’t recognized or targeted as the Other or Alien but part and parcel of the pervasive reality.
Because THE GRADUATE depended so much on mood, every little thing mattered. A physical-centered movie can have bunch of missteps. Raw reality can survive disruptions, like in Cassavetes films. But mood is like hypnosis, a trance. It has to be maintained without skipping a beat, and that was Nichol’s great achievement from the very opening shot of the film. It was all the trickier since Ben’s story has bumpy rides with sexual affairs, comic moments, and a wild chase. From the plane ride to sitting alone in the bedroom, the disaffected mood came naturally. But when Ben has to join the party, the setting changes drastically, so how is the mood maintained? Nichols keeps with the close-up of Ben amidst the guests with whom he mingles but won’t yield to. The close-up is like a portrait of a turtle hiding in the shell even as it’s passed around from person to person. And the deadpan responses have an element of droopy zen. Ben is odd, meditative and manic, sometimes meditative about what is manic, sometimes auto-hypnotized in manic drive. Nicholas managed to capture these consistencies and fractures, no easy feat. And he did this with sensitive attention to minute details and moments, the crucial turn of the screw that fixes the frame. (Surely, his work in comedy taught him about timing. Not just for comic effect but dramatic or poetic effect.)
Consider the moment when Ben visits Berkeley. First we have this meditative following of Ben though the campus, and then, a sudden zoom-out disrupts the calm. But the song and Ben’s obliviousness to the changes of time-lapsed scenery maintain continuity of mood. Then Ben turns around and spots Elaine through the waterfall. The jolting zoom-in rattles and intensifies the mood. The very threat to the mood fuels the mood. Elaine is what holds everything in him together, she is what is tearing everything apart in him. Few films have caught so well the duality of love as the calming and tormenting force in life. A timeless theme in art, few artists of cinema mastered the technique to convey it poetically.
The most memorable example of Nichols’ shuffling of trance and mania is Elaine’s discovery of the affair between Ben and her mother. Ben’s hectic run through the rain is dreamlike, and when the truth dawns on Elaine, her fuzzy out-of-focus image gradually crystallizes into clarity. Few uses of cinematic technique so effectively and poetically conveyed a person’s state of mind. If HAL the computer had a mind of its own, Nichols’ lens developed emotions of its own.
Elaine loses it and throws Ben out; the violence of the moment threatens to the break the mood, but there is Mrs. Robinson waiting in the hallway in an iconic Antonionesque image bidding farewell to Ben. Also, it was a clever move to show the closeup of Mrs. Robinson as Ben is being thrown out before returning to it again. The more conventional thing would have been to show Ben thrown out and then show Mrs. Robinson’s head pressed against the wall. But fixing on Robinson’s calm demeanor(of bitter defeat and victory) as Elaine’s screams are heard and then returning to it(after cutting to a dejected and humiliated Ben) and finally zooming out to show the irrevocable distance between her and Ben is one of the great coup de graces of cinema.
THE GRADUATE is wonderful to watch because of many such moments. It’s beyond well-crafted. It’s inspired, the one time genius touched Nichols in cinema. So, people who tend to dismiss the movie because of its story or themes are missing out so many thing that make cinema so special.

As for STEPFORD WIVES, that too is a multi-layered film. It can be seen as a feminist screed but also as a woman’s fantasy. After all, it’s the sort of movie that appeals far more to girls than to men. When my older sister was coming of age, she was obsessed about two films: CARRIE and STEPFORD WIVES. She and her friends were always talking of CARRIE even though they hadn’t seen it. What it was ABOUT was enough: psycho-physical changes wrought by puberty, the politics of peer pressure. Also, because it was about an all-white environment(as with STEPFORD WIVES), it had an extra element of Euro-exocitism because we lived in the city that was, in late 70s, filled with diversity from all over the world. There were whites, but also everyone else — Negroes, Hispanics, Asians, Arabs, Hindus, etc — , so what seemed normal in a white suburbs seemed ‘different’ to those in 70s urban jungle, the kind you see in TAXI DRIVER. Later CARRIE came on TV. This was before videotapes and stuff.
STEPFORD WIVES used to play on late night TV, and my sister ate it up, and her reactions was instructive. On the one hand, she watched it as cautionary horror about imprisonment of women. But on the other hand, she was luxuriating in the beauty, luxury, and style of these Stepford ladies. Feminism may be about the sisterhood and power, but it turns women into overall-wearing harridans with no manners. But in Stepford town, women can be goddesses, dressed so fine, so beautiful, and so well-mannered. People like my sister grew up on feminism and fashion magazines. She read GONE WITH THE WIND twice in a row, and she loved that it had a strong heroine who also happened to be very feminine.
This is why the scene in DAZED AND CONFUSED is so funny. The discussion about feminism and fantasy in the girls’ washroom. Linklater gets the contradictions. Women want to be ‘empowered’ but also to be noticed and admired. What’s hilarious is even the feminist girl is so fashion-conscious… like Naomi Wolf later. She dresses just like friends who try to look sexy. She complains about the sexual-stereotyping of women, but her view of men is hardly any more enlightened: ‘geek, fat over aged guy’, nerdy scientist…’. She sounds like she wants stepford men.

STEPFORD WIVES came out when overall-and-hanky-on-head feminism was all around. But then, feminism changed into corporate harlots wearing fancy stuff and shameless rise of sex goddess and slut culture. The wild success of TWILIGHT shows that lots of young girls want to become stepford vamps to be gorgeous forever.

Tarantino has dated black women I believe, and it shows.Watch the Un Momento scene Of Django Unchained. It is the opposite of the racism in Get Out because, in Django a black man is only interested in his black wife, and taking enormous risks he manages to free her so they can live happy ever after, only because a white man gives him a huge amount of help (and dies doing it)..

Cosmo's Kendra James hits the bullseye. The film reflects a reality. Whites' women appropriate blacks' men, they want the black male bodies. Get Out is like fly on the wall documentary compared to Django. at college black girls might as well be part of the woodwork. If you doubt it read the Salon article a black male writer says Get Out is about ahem "navigating white spaces" and the the problems black men (the movie is all about men's issues for him) have at college. A major problem he points up is their feet are much bigger than white boys'. What is he getting at? Something to do with the difficulty of navigating white spaces perhaps?

There are aspects of Young Frankensien (Woof! ,' 'The monster got your brain what did you get' ) and a considerable l rip-off of https://en.wikipedia.org/wiki/Society_(film), Get Out is about black men and white women's sexual power.

It’s not my experience that white women want black men’s bodies. Numbers may be going up in that direction, I don’t know. But it has a low natural plateau. 99% of every interracial couple of that type I’ve seen has included a low-status female. Almost always overweight, and probably easy. Middle and high-class white women go with white men.

Granted, white female/black male couples are about a billion times more common than white male/black female couples. This despite the generally low standards of males and steep competition in the sexual marketplace for white women. There are plenty of sexless white males, left out of the fun of enjoying the females of their race. But they resort to Asians and browns, not blacks.

Black females are readily available sexually, financially, and so forth, but hard to find because of the social and geographical segregation of the races. Black males, on the other hand, will actively pursue white women, hence the catchphrase “where da white women at?” Which could partially explain the discrepancy. But mostly white women have some level of attraction to black men (tall, very dark, and handsome stranger), whereas no one much likes black women (definitely not the fair sex).

That holds true in places where the white girls grow up in a mix of black and white(which lets face it, tends to be areas where the whites are poor and plain looking). Moreover the girls in those places know what blacks are like. In places where good looking girls from white communities don't have the folk wisdom and don't know what blacks are like but are suddenly mixing with them, they tend to think they will be reliable boyfriends in the style of white boys. So you will get quite a few college couples comparable in looks to the ones in the Get Out movie. Until the girl gets used and dumped,

Moreover, an observation I have sadly made has been: if you marry a woman who once had a serious tryst with a black man, it doesn't matter if your daughter with her is well above average in looks, don't be surprised if she falls for an African (expecting him to be a clingy white-style boyfriend).

The high quality black men that black girls at college long for a relationship with are all taken by white girls, that is why the Cosmo article is right on the money. Maybe we will see a movie about Jewish men being preyed on by Asian girls soon. (http://www.8asians.com/2010/10/06/is-the-social-networks-asian-fetish-acceptable/)

I don't pretend to know what is going on there but the Social Network book said they flaunt their big calves at the Zuckerbergs. Blacks haven't big calves, make of that what you will.

Newrouter, Thank you for the link and please note two things. There is no apparent rebar in any of the concrete slabs and it should be visible at all the broken edges of the slabs. Two, note that the concrete spillway did not completely rest on bedrock, again visible where large areas of fill or dirt are washed away from the bedrock.

One of the advisors to Pharaoh in The Prince of Egypt is named Hotep.
"Hotep" is a commonly used greeting in Afrocentric circles.[6][7]

Taken from https://infogalactic.com/info/Hotep#In_popular_culture

Hoteps are black guys from the "we waz kangz" world who got off the "hate whitey" train at some point. Hotep guys are basically black nationalists who usually don't have much of a problem with the idea of separation between blacks and whites. They're just not that angry at whites. They'd rather focus on black self-improvement. Hoteps don't like the BLM translesbo takeover of black nationalism and BLM hates them back.

Speaking of "The Malcolm X Files," here's Professor Griff of the rap supergroup Public Enemy explaining about how most of the famous black stars of Hollywood had to go through an "Illuminati homosexual ritual" that had something to do with Yale's Skull and Bones Society.

https://www.youtube.com/watch?v=a1-Lb-WZpcQ&app=desktop

This would seem like a couple of seasons worth of material right there.

Is there an Alt Black Right? The Alt-Blight? That would be the right standpoint for The Malcolm X Files.

“Is there an Alt Black Right?”

On Roosh’s “Return of Kings” website, which is full of MGTOWs, PUA’s and other assorted alt-righters, there a couple of regular black contributors: Athlone McGinness and (I think) Donovan Sharpe.

Nobody in Hollywood is afraid to make murder porn that targets whites.

Everybody in Hollywood is afraid to make murder porn that targets Muslims.

It's... uh... a question of pushback.

David Byrne and Brian Eno removed a song that used Islamic chants from the Qur’an from their 1981 album “My Life In The Bush Of Ghosts” when it was re-released. An Islamic group from London told them it was blasphemous to put their electronic grooves alongside the Islamic verses. David Byrne said, “We didn’t want to provoke.”

Hillary Clinton was not the inspiration for “The Jezebel Spirit” on the album, although she could have been. The album is famous for its use of voice samples and electronic groove.

Rotten Tomatoes is one of those sites, like GoodReads, that has become what Vox Day calls converged. In other words, lousy with SJWs and best avoided. IMDB gives better and more truthful movie reviews.

The (((critics))) reviews on Rotten Tomatoes make it sound like it's the next Citizen Kane. This should be taken no more seriously than people telling high school aged negroes who can barely read that they can become astronauts.

Awakened Whites shouldn't be supporting Hollywood anyway. There are plenty of places online to stream movies for free, even ones that have just opened in the theatres.

Rotten Tomatoes is one of those sites, like GoodReads, that has become what Vox Day calls converged. In other words, lousy with SJWs and best avoided. IMDB gives better and more truthful movie reviews.

RT always was thus. If I want to know what critics think of movies, I will check out RT. But since critics appear to be mostly lefty Jews, an average of their views is not very representative of whether I will like a movie. Sure, if there is minimal political content or sticking to “The Narrative”, it may be a relatively good indicator of quality. But otherwise imdb is a much better indicator for me (except for comedies). Sure, the demographic who vote on imdb are net addicts, but that’s me so it’s fairly accurate.

On another note, this movie can be thought of as the gentrification of black bodies. Where’s TNC when you need him?

To make it more funny, there should be some recognition of the gay vanguard of gentrification. Maybe to begin the process, they transplant a gay brain temporarily, with hilarity ensuing. “Don’t ask us why we do this, we just know it works.”

The last celebrated Hollywood fare I watched I think it was exactly “The hateful eight”. Awful, disgusting movie. I will never watch anything by Tarantino again.

I stopped watching his drek when the Nazi-bashing one was announced. Actually, I could only watch about 1/3 of Kill Hill, or whatever it was. Last movie of his I watched all the way through was Jackie's Nap, something like that.

“light-skinned blacks and biracial blacks get a lot of grief and rejection from the larger black population. ”

In Haiti the mulatto elite was killed by the darker blacks.

The word is "colorism." NPR even defined it the other day, something like "prejudice based on skin tone." Since the left defines racism as "prejudice based on skin color," you might want to check with them as to the difference between "skin tone" and "skin color."

Is this some sort of new-fangled slang term that I’ve never heard before, or just illiteracy?

The word is "ebonics," though you might want to check with the left as to the difference between "ebonics" and "illiteracy."

A white “beta” male is just a man who has been civilized. When he was a kid he was as wild as any black boy. At some point in his upbringing, he began to respond to authority when he was called to account for the damage his wildness caused. His “beta”ness represents the dawn of forward thinking in his personality. Most white women “finally conclude” that choosing a “beta” white male is a better deal because as she matures she realizes that forethought trumps animalism almost every time. With no fathers, most black boys are never trained out of their wildness–the key word here being trained.

Yes, it's Homo Sapiens Sapiens, not Homo Alogos Alogos, or the like.

Note that the critics who gave the film a 99% approval rating are mostly white so it’s clear that the real problem is all of the white enablers who make this trash possible; these are the real deplorables.

Yes, most people think of drug addicts as worse than drug pushers, johns as worse than pimps, etc. Oh, wait, no they don't.

Awakened Whites shouldn’t be supporting Hollywood anyway. There are plenty of places online to stream movies for free, even ones that have just opened in the theatres.

I'm trying to think of the last movie I paid for. Oh yeah, Dredd. Bought two copies and gave one away, actually. Before that, I think it was 300.

Black skin “tone” is jazzy, with lots of blue notes. (Their hearts beat in swing time, as well, but that’s another subject.) White skin tone is much like white noise: after a while you can’t tell it’s even there. Not very interesting, probably because it’s not covering those fascinatin’ black bodies. (White bodies are as boring as everything white.)

Newrouter, Thank you for the link and please note two things. There is no apparent rebar in any of the concrete slabs and it should be visible at all the broken edges of the slabs. Two, note that the concrete spillway did not completely rest on bedrock, again visible where large areas of fill or dirt are washed away from the bedrock.

I agree that the lack of rebar is troubling but there's no rule that the spillway has to be laid on bedrock. It's not a skyscraper - it would have loads similar to a highway and these are commonly laid on a crushed stone base on top of compacted earth.

More on rebar at: https://wattsupwiththat.com/2017/02/09/ororville-dam-spillway-collapse-may-be-due-to-missing-rebar/
Remembering that the spillway is immense and rebar is relatively small diameter, Joe could you take another look and see if you think those people at that link claiming they see rebar are correct? (asking you since you have iron work experience IIRC)

And regarding Jack D's loading comment, I'm not sure highways are comparable at the spillway's full flow. Water is heavy and 150,000 cfs is a great deal of it. Does anyone have real loading numbers for comparison?

It's not my experience that white women want black men's bodies. Numbers may be going up in that direction, I don't know. But it has a low natural plateau. 99% of every interracial couple of that type I've seen has included a low-status female. Almost always overweight, and probably easy. Middle and high-class white women go with white men.

Granted, white female/black male couples are about a billion times more common than white male/black female couples. This despite the generally low standards of males and steep competition in the sexual marketplace for white women. There are plenty of sexless white males, left out of the fun of enjoying the females of their race. But they resort to Asians and browns, not blacks.

Black females are readily available sexually, financially, and so forth, but hard to find because of the social and geographical segregation of the races. Black males, on the other hand, will actively pursue white women, hence the catchphrase "where da white women at?" Which could partially explain the discrepancy. But mostly white women have some level of attraction to black men (tall, very dark, and handsome stranger), whereas no one much likes black women (definitely not the fair sex).

“Black females are readily available sexually, financially, and so forth, but hard to find because of the social and geographical segregation of the races.”

I’ve found that black women actively seek out white men abroad. Particularly in Europe.

I like Get Out because it portrays Liberal pro-open borders Obama supporting SWPL types as the real anti-Black racists. Jordan Peele the director could have easily portrayed the White villains in the film as MAGA hat wearing toothless hillbillies with a Southern accent and banjos in their hands, while telling the interracial couple we don’t welcome your kind around here in their extremely thick country boy Southern accents, but he didn’t.

"It’s funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the “mad scientist” character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you’ll note, Marty’s father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related?"

Interesting thesis, and one I think well worth discussing.

Off the top of my head, it could be a Jungian archetype thing. "Come on, this is WHAT you are really scared of now!"

Pretty easy to fold the zombie phenom into this (and that one has been discussed before).

Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers unlike most other ethnicities particularly the SWPL demo that's gone all HBO/Game of Thrones/Hulu/Netflix).

Blacks love horror movies. 86' all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50's and 60's horror flicks weren't that much into explaining things either, but they felt the need to at least try.

Now it is "Damn the plot, full gore ahead!"

Blacks love horror movies. 86′ all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50′s and 60′s horror flicks weren’t that much into explaining things either, but they felt the need to at least try.

Now it is “Damn the plot, full gore ahead!”

The increase in gore and sadism in horror films—called “torture porn” these days—owes a lot to loosening mores and movie ratings.

But it also has a lot to do with the disintegration of human ties to their communities; it’s the Bowling Alone meets the Bobos in Paradise syndrome. Because people aren’t as connected with one another, it takes a lot of effort to make us care when someone is hurt or injured. Amping up the gore is one method, since the more visceral and torturous the pain seems, the more we tend to empathize.

It also is related to the fact that, relatively speaking, Americans aren’t faced with widespread hardship and gore in their daily lives. When times are hard or brutal, light-hearted comedies and cartoons rule the day.

E.g. The Depression-era 1930s had many, many happy films become hits, such as the screwball comediesThe Awful Truth, It Happened One Night, My Man Godfrey, and His Girl Friday; the revue films such as the Big Broadcast of 1938; and cartoons such as Mickey Mouse, whose persona changed from the 1928-version of the mischievous anti-hero to the 1935s wholesome everyman.

When people are miserable, they want light-hearted fare. The film Sullivan’s Travels of 1941 stated this pretty directly, where a depression-era comedy film maker wants to make “serious” films for the “downtrodden” masses, only to finally discover that his comedies were exactly what the “downtrodden masses” wanted, since it relieved them of their misery.

But these days, most people aren’t facing a Great Depression coupled with WWII and the loss of the family farm. So to us, torture and misery are escapism from our comfortable, slightly boring lives.

The Depression-era 1930s had many, many happy films become hits, such as the screwball comediesThe Awful Truth, It Happened One Night, My Man Godfrey, and His Girl Friday; the revue films such as the Big Broadcast of 1938; and cartoons such as Mickey Mouse, whose persona changed from the 1928-version of the mischievous anti-hero to the 1935s wholesome everyman.

Tellingly, modern hipsters tend to snidely assert that this initial characterization was the best, and the earlier art-style has made something of a comeback in recent short animations.

The black X Files reboot idea is from a reader. Unfortunately, I've lost track of who came up with the idea.

On twitter, somebody suggested that calling it "The Malcolm X Files."

“The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

“The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

Let's see, what would fit the narrative....Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can't take it anymore. He's going to make the police pay....in blood...

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

How about a black version of "1984"? The blacks are the proles, and the oligarchic collectivists are evil white men who re-write the past, manipulate the news, and want war with Eurasia in order to maintain power... oh, wait...

The racial angle is also rather original, as it’s about whites who fetishize blackness.

Well, from a Black Studies standpoint, it's quite unoriginal, as the theme of the "fetishization of the Black body" has been done to death. Peele (a Sarah Lawrence grad) has simply applied these notions to a horror film.

I enjoyed it more than Stepford Wives, which is completely free of comedy,

It's not as funny as Ira Levin's novel, true, but I would hardly describe the film version as "completely free of comedy."

The first season of True Detective was notable for its use of philosophical pessimism & antinatalism. It didn’t invent any of those ideas, but it was original to use them in a detective story. Movies aren’t academia, so making a horror/comedy movie about fetishism rather than fear/hatred of blacks is original.

It doesn't matter that BIRTH OF A NATION flopped at the box office. As I predicted, the library here in the Peoples' Republic has 6 copies and 77 people are on the wait list to see it. I'd bet anybody $100 that the same thing is happening all across the country.

I saw the trailer for Get Out several times on TV and could tell that it sucked.

The image of a hulking black man terrorizing a young, innocent, Southern white girl is hardly new in American pop culture. The 1915 movie The Birth of a Nation, the D.W. Griffith silent film about the rise of the KKK in the Reconstruction-era South (commonly known as the first true blockbuster) captured that fear and capitalized on it. Mae Marsh's character was willing to throw herself over a cliff rather than let the villainous black man — played by white actor Walter Long in blackface — get his hands on her; for better or worse, it's an iconic Hollywood moment.

Americans have been conditioned to see black men as threatening for generations, and the consequences of this conditioning range from a pop starlet being able to paint a rapper as a villain for nearly a decade because she feels "bullied" to police officers shooting unarmed men in front of convenience stores because they felt "unsafe." Obviously Kanye's feud with Taylor is far less serious than any death by police shooting, but these cultural moments represent two ends of the same spectrum, a spectrum of systemic racism playing out in America.

His VMAs stunt wasn't nice, no, but it also happened in 2009 and didn't really do any harm to Taylor (on the contrary, it wildly helped her career). But just as we're conditioned to see black men as threatening, we've also been conditioned to respond immediately to the tears and emotions of a white woman. (The defense of a white woman's virtue was once cause for literal lynchings.)

Whether Taylor knows it or not (and I suspect she knows it), if Kim hadn't released those Snapchats, there's a large portion of America that simply would have continued to take her word over Kanye's and believed that he was harassing her in the media out of spite. We're a country structurally set up to protect whiteness over blackness, and at least one reason 2016 has been the dumpster fire that it has been is because of the way America sees black men — and black people — in general. Blackness is threatening, even if the worst thing it's done to you is jump into your spotlight on a Grammys stage or try to sell you some loose cigarettes on the street. While Kim exposing Taylor isn't going to solve racism in America, she's not distracting from the narrative or "real issues" at all. She managed to say, "Keep my man's name out ya mouth," and highlight our country's macro social problems on a micro scale.

Black people hate Taylor Swift because she has never dated a Black guy. The most ethnic guy Taylor Swift has dated is Taylor Lautner who is mostly White with minor Amerindian ancestry. But Taylor Lautner is still not Vibrantly Diverse enough for Black people. So Taylor Swift’s dating preference is still seen as racist and not inclusive enough.

Even though THE GRADUATE conveys certain Jewish neurosis, I don't see it as anti-gentile or even anti-wasp. It's a movie about obsession, and everything at odds with Ben's obsession seems alien and hostile. Ben doesn't get along with anyone, even those who are trying to be nice to him. He shuts out everyone at the party. He shuts out his parents. He shuts out Mr. Robinson who treats him like a son. He does open up to Mrs. Robinson, and in loyalty to her, shuts out Elaine. But when his heart goes for Elaine, he shuts out Mrs. Robinson. His current obsession is the ONLY reality. And so everyone at odds with his obsession-of-the-moment becomes the 'new hitler'. He can't even stand hip young people at the hamburger joint cuz they're playing the music too loud and messing up his gab with Elaine. And Richard Dreyfus and Norman Fell, who don't look waspy, are also at odds with him. (Fell's character of McCleery is one of my all-time fav's. We need more men like to put the young ones in place. "You're not one of those agitators... I hate that. I won't stand for it." Damn boomers got rid of the McCleeries of the world.)

https://www.youtube.com/watch?v=-nJ8ea6smKQ

True, his final mission goes up against a the makeout king of a wasp fraternity, but I think even those who root for Ben know what a loon he is. What he does is insane.
Also, if there is a villain(ess) in the film, it is Mrs. Robinson, and her role isn't very waspish. She likes act Susan Sontag if she'd been relegated to being a housewife. She certainly doesn't stand for 1950s wasp repression and family values.

THE GRADUATE is something of a comedy, but its obsessions are too deep for the film to be fully comedic. Besides, if Woody Allen began in comedy and went serious later, Nichols, despite his comic background, plunged into European Art House style from the start. So, the result is like sitcom crossed with Antonioni movie, like Dick Van Dyke Show doing mock-tennis with BLOW-UP. And the emotions in THE GRADUATE have an element of sincerity(if of the mad king), and 'sounds of silence', 'april come she will', and 'scarborough fair' on the soundtrack supply the melancholy, alienation, depression.

Though considered dated by some, it still looks futuristic, like 2001: A SPACE ODYSSEY. It is like sci-fi fantasy of suburban life. And this futurism is tied closely with whiteness, something that California lost as it went for Diversity. It now looks like futurist-nostalgia.
THE GRADUATE, like AMERICAN GRAFFITI and BIG WEDNESDAY(and HAROLD AND MAUDE), is a memory trip of how California once used to be. And yet, because they are about youth facing the future, dawn of a radical new era, they are comforting and exciting at the same time. It's like returning to certainty of uncertainty.

THE GRADUATE is a key film, situated somewhere between PSYCHO -- the editing of nude Bancroft recalls shower-scene editing in the Hitchcock film(Nichols also took some pointers from Welles' THE TRIAL) -- and THE GODFATHER. (They should do a fusion movie called THE GRADFATHER where a son of a mafia boss graduates and is given advice about 'just one word... cement'.) Ben and Michael follow a similar trajectory. Both are young, out of school, and worried about their future. Difference is Michael grew up in a more strongly defined cultural setting, and he even makes 'aliyah' to Sicily. Also, an attempt was made on his father's life, and he got socked in the jaw. He also served in war. So, he got toughened up. He was able to put away childish things. In contrast, Ben had it nice and easy all his life. His parents were always there. But there was nothing particularly cultural or ethnic about the family. Ben doesn't know what he is other than a student and consumer and future professional. Also, no one tried to kill his pa. And Ben didn't have to serve in war, like Norman Mailer who was deeply marked by war. So, the film is about a man searching for meaning and finding true love through the oddest set of circumstances. We are not even sure if he's really in love with Elaine or with the emotions of a particular moment with Elaine. It may be more about how she made him at a certain moment than herself. (They don't really get to know each other like Oliver and Jenny in LOVE STORY.) It's like we're not what exactly Scotty fell in love with in VERTIGO. Love creates its own myths, and the power of myth derives from unattainable-ness. Once attained, the meaning changes or is lost ... and final scene where Ben has won Elaine has him falling back into the question of what life is all about.

THE GRADUATE is ultimately memorable for the look, mood, and music. Nichol had the right touch. Its mood-ism had big influence films such as THE SWIMMER(clumsy but nice try), HAROLD AND MAUDE, LOVE STORY, RISKY BUSINESS, SOMETHING WILD, MIDNIGHT COWBOY, ONE FLEW OVER THE CUCKOO'S NEST, and later the TWILIGHT movies(which have nothing going for them but look and mood). Some films aped THE GRADUATE, just like so many gangster or political films aped THE GODFATHER. The adaptation of Ellis novel LESS THAN ZERO is prolly the biggest copycat movie of THE GRADUATE. Doesn't work though not entirely worthless.

Nichols wasn't exactly original and copped ideas & styles from others, but he fused the right elements in right doses in the right way to create something singular. In some ways, his crafty wit even pushed him beyond the masters he admired. While Nichols couldn't have conceived of L'AVVENTURA, it's also true Antonioni couldn't have made something so artful and entertaining as THE GRADUATE even if he tried. (MIDNIGHT COWBOY is another movie that took European art-film elements for conventional narrative purposes, but such 'accusation' could overlook the fact that Schlesinger, in some respects, went beyond what the European auteurs did.) You can see it and note the references and allusions, but there never was and never has been anything quite like THE GRADUATE(with the possible exception of mood-perfect HAROLD AND MAUDE and MCCABE AND MRS MILLER). THE GRADUATE sucks you into more than a story about characters and places. We feel as if in a lucid dream. It's like 3D effect owing to Nichols' mastery of mood. Like a fish inside an aquarium.

Also, it's the little things that make the whole, and THE GRADUATE was crafted with the care of a watch-maker. The camera moves or zooms in and out, swims or sinks in perfect sync with Ben's emotions. If ever a movie captured the mood of a single character, this was it, though Hitchcock led the way with VERTIGO and PSYCHO(it's about Janet Leigh's moods up to the shower scene) and Kubrick with LOLITA. COOL HAND LUKE, another 1967 flick, was also a triumph of singular mood, in some ways all the more remarkable since it's about a man locked up with other men. Because THE GRADUATE is always about Ben's moods and hangups, the effect is rather like BEING BENJAMIN BRADDOCK, variation of Malkovich. It's like we put on scuba-gear and dove into Ben's soul like in FANTASTIC VOYAGE.

There had been movies with strong personalities and passions, but the Hollywood system insisted on a certain house style, and prior to the 60s, it was near-impossible for any director to make something truly singular, or 'different', as Braddock might say. Even a film as personal as VERTIGO has much of the Classic Hollywood look that Hitchcock had to adhere to and had grown accustomed to. It could go halfway in personalism but not fully. So, even a landmark film like REBEL WITHOUT A CAUSE or SPLENDOR IN THE GRASS looks conventional and familiar. Things really began to change in the 60s, and THE MANCHURIAN CANDIDATE was one weird movie. No movie had felt that 'off'. The difference was its sense of ease with strangeness(despite being about military men), as was the case with DR. STRANGELOVE. The weirdness wasn't recognized or targeted as the Other or Alien but part and parcel of the pervasive reality.
Because THE GRADUATE depended so much on mood, every little thing mattered. A physical-centered movie can have bunch of missteps. Raw reality can survive disruptions, like in Cassavetes films. But mood is like hypnosis, a trance. It has to be maintained without skipping a beat, and that was Nichol's great achievement from the very opening shot of the film. It was all the trickier since Ben's story has bumpy rides with sexual affairs, comic moments, and a wild chase. From the plane ride to sitting alone in the bedroom, the disaffected mood came naturally. But when Ben has to join the party, the setting changes drastically, so how is the mood maintained? Nichols keeps with the close-up of Ben amidst the guests with whom he mingles but won't yield to. The close-up is like a portrait of a turtle hiding in the shell even as it's passed around from person to person. And the deadpan responses have an element of droopy zen. Ben is odd, meditative and manic, sometimes meditative about what is manic, sometimes auto-hypnotized in manic drive. Nicholas managed to capture these consistencies and fractures, no easy feat. And he did this with sensitive attention to minute details and moments, the crucial turn of the screw that fixes the frame. (Surely, his work in comedy taught him about timing. Not just for comic effect but dramatic or poetic effect.)
Consider the moment when Ben visits Berkeley. First we have this meditative following of Ben though the campus, and then, a sudden zoom-out disrupts the calm. But the song and Ben's obliviousness to the changes of time-lapsed scenery maintain continuity of mood. Then Ben turns around and spots Elaine through the waterfall. The jolting zoom-in rattles and intensifies the mood. The very threat to the mood fuels the mood. Elaine is what holds everything in him together, she is what is tearing everything apart in him. Few films have caught so well the duality of love as the calming and tormenting force in life. A timeless theme in art, few artists of cinema mastered the technique to convey it poetically.
The most memorable example of Nichols' shuffling of trance and mania is Elaine's discovery of the affair between Ben and her mother. Ben's hectic run through the rain is dreamlike, and when the truth dawns on Elaine, her fuzzy out-of-focus image gradually crystallizes into clarity. Few uses of cinematic technique so effectively and poetically conveyed a person's state of mind. If HAL the computer had a mind of its own, Nichols' lens developed emotions of its own.
Elaine loses it and throws Ben out; the violence of the moment threatens to the break the mood, but there is Mrs. Robinson waiting in the hallway in an iconic Antonionesque image bidding farewell to Ben. Also, it was a clever move to show the closeup of Mrs. Robinson as Ben is being thrown out before returning to it again. The more conventional thing would have been to show Ben thrown out and then show Mrs. Robinson's head pressed against the wall. But fixing on Robinson's calm demeanor(of bitter defeat and victory) as Elaine's screams are heard and then returning to it(after cutting to a dejected and humiliated Ben) and finally zooming out to show the irrevocable distance between her and Ben is one of the great coup de graces of cinema.
THE GRADUATE is wonderful to watch because of many such moments. It's beyond well-crafted. It's inspired, the one time genius touched Nichols in cinema. So, people who tend to dismiss the movie because of its story or themes are missing out so many thing that make cinema so special.

https://youtu.be/MCa9vtTvQpE?t=1m34s

As for STEPFORD WIVES, that too is a multi-layered film. It can be seen as a feminist screed but also as a woman's fantasy. After all, it's the sort of movie that appeals far more to girls than to men. When my older sister was coming of age, she was obsessed about two films: CARRIE and STEPFORD WIVES. She and her friends were always talking of CARRIE even though they hadn't seen it. What it was ABOUT was enough: psycho-physical changes wrought by puberty, the politics of peer pressure. Also, because it was about an all-white environment(as with STEPFORD WIVES), it had an extra element of Euro-exocitism because we lived in the city that was, in late 70s, filled with diversity from all over the world. There were whites, but also everyone else --- Negroes, Hispanics, Asians, Arabs, Hindus, etc --- , so what seemed normal in a white suburbs seemed 'different' to those in 70s urban jungle, the kind you see in TAXI DRIVER. Later CARRIE came on TV. This was before videotapes and stuff.
STEPFORD WIVES used to play on late night TV, and my sister ate it up, and her reactions was instructive. On the one hand, she watched it as cautionary horror about imprisonment of women. But on the other hand, she was luxuriating in the beauty, luxury, and style of these Stepford ladies. Feminism may be about the sisterhood and power, but it turns women into overall-wearing harridans with no manners. But in Stepford town, women can be goddesses, dressed so fine, so beautiful, and so well-mannered. People like my sister grew up on feminism and fashion magazines. She read GONE WITH THE WIND twice in a row, and she loved that it had a strong heroine who also happened to be very feminine.
This is why the scene in DAZED AND CONFUSED is so funny. The discussion about feminism and fantasy in the girls' washroom. Linklater gets the contradictions. Women want to be 'empowered' but also to be noticed and admired. What's hilarious is even the feminist girl is so fashion-conscious... like Naomi Wolf later. She dresses just like friends who try to look sexy. She complains about the sexual-stereotyping of women, but her view of men is hardly any more enlightened: 'geek, fat over aged guy', nerdy scientist...'. She sounds like she wants stepford men.

https://youtu.be/MbRhuUtKHV4?t=47s

STEPFORD WIVES came out when overall-and-hanky-on-head feminism was all around. But then, feminism changed into corporate harlots wearing fancy stuff and shameless rise of sex goddess and slut culture. The wild success of TWILIGHT shows that lots of young girls want to become stepford vamps to be gorgeous forever.

The first season of True Detective was notable for its use of philosophical pessimism & antinatalism. It didn't invent any of those ideas, but it was original to use them in a detective story. Movies aren't academia, so making a horror/comedy movie about fetishism rather than fear/hatred of blacks is original.

The first season of True Detective was notable for its use of philosophical pessimism & antinatalism. It didn’t invent any of those ideas, but it was original to use them in a detective story.

You’re being a bit overly kind. Pizzolatto “appropriated” huge chunks of the work of Thomas Ligotti.

As for the “originality” part…..Using the conventions of the detective story is probably the hackiest move imaginable. It’s what you do when you can’t think of anything original.

Movies aren’t academia, so making a horror/comedy movie about fetishism rather than fear/hatred of blacks is original.

I give him credit for making the film, sure. But the intellectual heavy-lifting had already been done by other people in terms of themes, tropes, ideation, etc.

It doesn't matter that BIRTH OF A NATION flopped at the box office. As I predicted, the library here in the Peoples' Republic has 6 copies and 77 people are on the wait list to see it. I'd bet anybody $100 that the same thing is happening all across the country.

I saw the trailer for Get Out several times on TV and could tell that it sucked.

The NY public Library has 177 copies and all of them are out. There is a 76 person waiting list for the 1st copy returned.

I thought The Rock was 100 percent Pacific Islander when I first saw him, that is why I was confused when he joined The Nation Of Domination. But than he revealed while joining The Nation that he is half Black. This was before the age of Wikipedia where you can find the racial/ethnic background of a celebrity.

Newrouter, Thank you for the link and please note two things. There is no apparent rebar in any of the concrete slabs and it should be visible at all the broken edges of the slabs. Two, note that the concrete spillway did not completely rest on bedrock, again visible where large areas of fill or dirt are washed away from the bedrock.

Any idea what the bluish grey rock is(sandstone?)? It doesn’t look very durable. That is alot of concrete to pour without rebar.

AFAI can make out (my color vision is rotting in the fields these days),http://www.quake.ca.gov/gmaps/RGM/chico/chico.html directly under the non-dam we've got metavolcanic rocks of vaguely Paleo/Mesozoic age (I suppose greywackes and sandstones messed up by nearby vulcanism, e.g. Sutter Buttes to SW), then further down to the river "Metamorphic rocks of unknown age : mv - blueschist bearing metavolcanic rocks" and it all gets a bit faulted, funky and interesting. Peridotite. I guess the greyblue stuff is metamorphic schisty slatey material with a heavy dose of faulting. Not particularly massive, fissured to buggery and easily compromised by hydraulic action, IOW. But it's not my trade, so don't take my burbling too seriously. Need to find a book or field guide on it.

I'd liked to see the audience breakdown by race. I can't see sane non-blacks (let alone whites) going to see something like this. I also can't see this being a commercial success overseas (e.g. East Asia) where good-looking white actors/models move a lot of merchandise.

I’m sorry Ole’ Twinkster; you’re old, and I’m afraid living on the Appalachian trail has put you out of touch…

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

I’m sorry Ole’ Twinkster; you’re old, and I’m afraid living on the Appalachian trail has put you out of touch…

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

Seeing as how Blacks are 12.6 % of the US population, I say that Blacks form a disproportionate share of the film's audience....

I’m sorry Ole’ Twinkster; you’re old, and I’m afraid living on the Appalachian trail has put you out of touch…

Yet I can still do simple math that you apparently can't.

a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino.

Per the 2010 Census, the U.S. is 72.4% white and 12.6% black. I suppose in contemporary America, demographics is "healthy" when blacks are vastly overrepresented and the black-brown combo is in the majority. I see now why the NBA is good, but Silicon Valley/medical schools are evil.

Being profitable is not exactly the point. Getting the kill whitey message out there is worth losing a few million.

Being profitable is not exactly the point. Getting the kill whitey message out there is worth losing a few million.

I don’t think you understand the entertainment industry. Sure, it is mostly peopled by leftists, but the rule number one is always “Will it make money?” Believe it or not, Hollywood test-screens films to see what kind of reactions they get from the movie-going audiences.

"Sure, it is mostly peopled by leftists, but the rule number one is always 'Will it make money?'”

So, if Hollywood learns that an anti-Zionist action movie(with an Arab-American hero whupping and killing Jewish villains) will rake in tons of money around the world, it will get the green light?

Fat chance.

I agree that money is #1 on condition that the story doesn't undermine the Main Narrative. GLOB power derives from Narrative Monopoly and Narrative Hegemony, so why not enjoy it?

The last thing Hollywood wants is for White America to feel a sense of Narrative Autonomy. So, even Hollywood movies with white heroes(and there are tons of them) don't have them fighting for white interests. Such might boost white consciousness and the demand for more white-centrism.

But for true Narrative Autonomy/Independence, white Americans need to have their own movie culture and industry. With cheap digital stuff and internet platform, it is more doable than ever.

"The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

“The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

Let’s see, what would fit the narrative….Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can’t take it anymore. He’s going to make the police pay….in blood…

"Let’s see, what would fit the narrative….Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can’t take it anymore. He’s going to make the police pay….in blood…"

I like my White Nationalist nazi skinheads are terrorizing New York City Blacks scenario better. After all it is based on pure unrealistic fantasy and Hollywood is all about unrealistic fantasy.

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

By coincidence, I thumbed thru Cosmo on Monday at the doctors. After considering the “Sex Position of the Month” feature, LOL, I noticed the endless photos of young, beautiful couples in bed games. They featured gorgeous young white women and handsome men of color: swarthy, dark skinned, vaguely “Arab” or Middle Eastern men, or made up to look so. Not just one for token diversity. One after another. Hot, say the Cosmo editors, I guess.

Most muscle magazines - the ones with buff shirtless dudes on the front covers - feature white cover models. Whether this is due to white readers' preference for white role models or gay readers' preference for white eye candy, I can't say.

(Body neuroticism is a stereotypically homosexual personality trait that has become
mainstream in today's limp-wristed society.)

Being profitable is not exactly the point. Getting the kill whitey message out there is worth losing a few million.

I don't think you understand the entertainment industry. Sure, it is mostly peopled by leftists, but the rule number one is always "Will it make money?" Believe it or not, Hollywood test-screens films to see what kind of reactions they get from the movie-going audiences.

“Sure, it is mostly peopled by leftists, but the rule number one is always ‘Will it make money?’”

So, if Hollywood learns that an anti-Zionist action movie(with an Arab-American hero whupping and killing Jewish villains) will rake in tons of money around the world, it will get the green light?

Fat chance.

I agree that money is #1 on condition that the story doesn’t undermine the Main Narrative. GLOB power derives from Narrative Monopoly and Narrative Hegemony, so why not enjoy it?

The last thing Hollywood wants is for White America to feel a sense of Narrative Autonomy. So, even Hollywood movies with white heroes(and there are tons of them) don’t have them fighting for white interests.
Such might boost white consciousness and the demand for more white-centrism.

But for true Narrative Autonomy/Independence, white Americans need to have their own movie culture and industry.
With cheap digital stuff and internet platform, it is more doable than ever.

Boise is the place to go. That's what I'd do if I were a young white guy in California.

Interesting recommendation. I was born and raised in California and have been pondering the question of where to go for quite some time. It saddens me to leave, but it feels more and more third world each day. I was considering Salt Lake City, Boise, perhaps some moderate size city in the Midwest. Breaks my heart

Looking long term, I see some whites moving to concentrate their numbers to be a local majority in certain areas of the country. White flight on a continental level. Boise and the rest of the Mountain west will be a beneficiary of that. Some Mexicans will tag along, but they're ok in limited numbers. Salt Lake City would be ok but for the Mormon majority.

Steve, have you ever seen Blacula (1972)? It was one of the first black-centric horror movies.

As usual, Whitey is to blame:

https://www.youtube.com/watch?v=4XzQabdzAqQ

Ah, Blacula. Three things have always stood out for me:

William Marshall (AKA Dr Daystrom on TOS Star Trek, the ur-example of the Black tech genius trope). He was quite good as the eponymous villain, what with his towering height and trained diction.

Interior Decorators: Yeesh. The two Gay lovers who get fanged by Blacula are maybe the most OTT Gays that I have ever seen

Transylvania, hub of the Trans-Atlantic Slave Trade: Sure, they wanted to work Dracula in, but I still can't figure out why someone trying to end the Trans-Atlantic Slave Trade would go to Transylvania.....

Thalamus Rasulala, who played the doctor/cop on Blacula’s trail, also has a Star Trek credit: the captain of the doomed U.S.S. Yamato in TNG’s “Contagion.”

I’ll take ’70s blaxploitation over the teens’ white-hatred-exploitation any day.

Get Out, a remarkably racist kill-the-white-people horror movie that makes Django Unchained seem like My Dinner With Andre, is the box office and critical smash of the winter.

And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh's character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins).....

“And speaking of how beating-up White women is now PC with the SJWs, The Hateful Eight comes to mind as a prominent example.During the course of the film, Jennifer Jason Leigh’s character is beaten bloody. And the film even ends with her being brutally hanged by a salt-and-pepper team (Samuel L. Jackson and Walton Goggins)…..”

That’s Mike Damone’s girlfriend from Fast Times At Ridgemont High. He was such a stereotypical Guinea character.

I'm sorry Ole' Twinkster; you're old, and I'm afraid living on the Appalachian trail has put you out of touch...

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

Per the latest Census, there are around 13,000 full-time-residents of Asian ancestry in West Virginia alone (though that's a paltry 0.7% of the state's population), and that's not counting part-time residents, among whom I am one.

And of course Appalachia encompasses a HUGE amount of land along the mountain range, across many states. While it is true that the Asian population is very small, it is not nonexistent.

By coincidence, I thumbed thru Cosmo on Monday at the doctors. After considering the "Sex Position of the Month" feature, LOL, I noticed the endless photos of young, beautiful couples in bed games. They featured gorgeous young white women and handsome men of color: swarthy, dark skinned, vaguely "Arab" or Middle Eastern men, or made up to look so. Not just one for token diversity. One after another. Hot, say the Cosmo editors, I guess.

Most muscle magazines – the ones with buff shirtless dudes on the front covers – feature white cover models. Whether this is due to white readers’ preference for white role models or gay readers’ preference for white eye candy, I can’t say.

(Body neuroticism is a stereotypically homosexual personality trait that has become
mainstream in today’s limp-wristed society.)

syon, I read that Ms. Dolezal is now homeless and living on a EBT card.

According to Wiki: “Dolezal told The Guardian in December 2015 that she was pregnant and expecting to deliver a son in June 2016, whom she has named Langston in honor of writer Langston Hughes.” It’s pretty easy to get public housing if you have no job and a kid to support. There’s no mention of any husband. My suspicion is that abruptly deciding to have a kid is her way of figuring out how to support herself for the next 18 years as long as she’s unemployable, or until the public forgets. Or maybe she wants to have the ultimate black female life experience, single mother on welfare, LOL. People with a serious personality disorder like Dolezal have kids as casually as picking out a pet, and for truly messed-up reasons. Her kid’s going to be a basket case.

Secondly: “She has written a memoir, In Full Color, that will be published in March 2017.” I looked at her book rank on Amazon. It’s not the highest, but she’s selling copies in advance of its publication. She’s making money.

Anon, Hmmmm, unwed and pregnant, living in public housing and on an EBT card, so she is broke but book sale money coming in. I smell a welfare fraud case in the near future which will actually will give Miss D some cred in the hood.

@Thomas,
I wouldn't put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks. But other than that, I think you're definitely right about how privileged blacks become social radicals to prove they're authentically black.

I wouldn’t put Ta-Nehisi Coates in that category. Both of his parents were black nationalists who forced him to grow up in a black ghetto in Baltimore. Coates is also less educated and much dumber than most middle-class blacks.

“The black X Files reboot idea is from a reader. Unfortunately, I’ve lost track of who came up with the idea.

On twitter, somebody suggested that calling it “The Malcolm X Files.”

Speaking of Blackening classic White films and television shows, what would a Black version of Death Wish look like?

Something extremely unrealistic like Mahershala Ali from Moonlight in the Charles Bronson role going around vigilante justice killing White skin head Nazis who terrorize Black people on New York City subway trains that go to The Bronx and Coney Island.

Let's see, what would fit the narrative....Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can't take it anymore. He's going to make the police pay....in blood...

“Let’s see, what would fit the narrative….Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can’t take it anymore. He’s going to make the police pay….in blood…”

I like my White Nationalist nazi skinheads are terrorizing New York City Blacks scenario better. After all it is based on pure unrealistic fantasy and Hollywood is all about unrealistic fantasy.

I like my White Nationalist nazi skinheads are terrorizing New York City Blacks scenario better. After all it is based on pure unrealistic fantasy and Hollywood is all about unrealistic fantasy.

Yeah, but racist White cops are really in right now.....Maybe the White cops could also be neo-Nazi skinheads....We could have a scene where the White cops put on SS uniforms and celebrate Hitler's birthday....instead of a cake, they ritually rape a roofied Black coed.....

I'm sorry Ole' Twinkster; you're old, and I'm afraid living on the Appalachian trail has put you out of touch...

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

I’m sorry Ole’ Twinkster; you’re old, and I’m afraid living on the Appalachian trail has put you out of touch…

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

Seeing as how Blacks are 12.6 % of the US population, I say that Blacks form a disproportionate share of the film’s audience….

I'm sorry Ole' Twinkster; you're old, and I'm afraid living on the Appalachian trail has put you out of touch...

“Get Out,” praised for its use of the horror genre to tackle race relations, had a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino. Sales were split evenly between men and woman.

I’m sorry Ole’ Twinkster; you’re old, and I’m afraid living on the Appalachian trail has put you out of touch…

Yet I can still do simple math that you apparently can’t.

a healthy demographic split among its debut audience, which was 39% black, 36% white and 17% Latino.

Per the 2010 Census, the U.S. is 72.4% white and 12.6% black. I suppose in contemporary America, demographics is “healthy” when blacks are vastly overrepresented and the black-brown combo is in the majority. I see now why the NBA is good, but Silicon Valley/medical schools are evil.

I was baffled too, so I looked it up. It means to be a big, perhaps excessive fan of some star.

It comes from Eminem's well-written rap song "Stan," which is kind of a short story in verse, about a fan who writes increasingly disturbing fan letters to Eminem and eventually commits a murder-suicide in his name.

https://www.youtube.com/watch?v=gOMhN-hfMtY

So, it's less stupid in origin than most slang.

the problem is ‘stanned for’ sounds like ‘stand for’, which would also kind of work in context except for being the wrong tense. I assumed the author meant something like ‘stood up for’ but was let down by her editor.

"It’s funny how the theme of horror movies has shifted . In the pre-1970s many horror movies were all about the fears revolved around science; either science would lead us into creating something that was terrifying, or else science would be our only hope in saving us from a creature from beyond.

So we got Frankenstein and The Blob and The Day the Earth Stood Still and Godzilla and a lot of B-movies that revolved around either us messing-with-nature-and-creating-the-monster or something from outerspace crashing into us and wreaking havoc. Yes Dracula and The Wolfman were around, too, but there was a lot of science-themed horror films, especially involving the “mad scientist” character (humorously parodied by the Doc Brown character in the Back to the Future films, where, you’ll note, Marty’s father is a huge science fiction fan).

Then, in the 1970s from the auteur-era onwards, the science theme is dropped and horror’s themes became dominated around a bunch of city slickers out in the woods/isolated from others, beset by some mad slasher, and how woefully unprepared the people (usually teens) were for dealing with the threat. So we got Texas Chainsaw Massacre and Friday the 13th and, later, Saw and Hostel.

The shift is striking, and may be generationally related?"

Interesting thesis, and one I think well worth discussing.

Off the top of my head, it could be a Jungian archetype thing. "Come on, this is WHAT you are really scared of now!"

Pretty easy to fold the zombie phenom into this (and that one has been discussed before).

Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers unlike most other ethnicities particularly the SWPL demo that's gone all HBO/Game of Thrones/Hulu/Netflix).

Blacks love horror movies. 86' all this plot stuff (no need to waste time with some explanation of why this tarantula is as big as the Statue of Liberty). Just jump to the gore. The Friday movies, Nightmare, Chucky movies just handwave (if that) an explanation of why anything is happening. Well to be fair the 50's and 60's horror flicks weren't that much into explaining things either, but they felt the need to at least try.

Now it is "Damn the plot, full gore ahead!"

“Or it might be simpler. Blacks watch a lot of movies (hispanics too, but blacks are faithful theater goers”

I go to Alamo Draft House Theater a lot and it’s mostly a White audience everytime I go there. What separates Alamo from other theaters like AMC is that they show a lot of cult classics and independent art house films. Vibrant Diversity is not a fan of this because they prefer their Fast & Furious, Tranformers, and other movies with tons of CGI.

“Blacks love horror movies.”

Black don’t love Italian horror films known as giallo. Nothing is Whiter than watching a horror film in theater directed by Dario Argento. The audience is extremely White.

Here's Kendra James (yes, a black woman) in Cosmo to remind us that Get Out reminds us that white Cave Bitch racism is very serious bizness (complete with repeats of cultural appropriation accusations against Emma Stone and Scarlett Johansson on behalf of Asians, and a further "take that" at those 53 percent of white women voters who betrayed them): http://www.cosmopolitan.com/entertainment/movies/a8990932/get-out-perfectly-captures-the-terrifying-truth-about-white-women/

(And, incidentally, the Sailer Law of Female Journalism gets another proof.)

This leads me to wonder: did Peele, son and husband of white women, feel the need to toss the sisters a bit of a bone here?

I don’t understand this. I could see this kind of anti-white animus in Ebony but Cosmo is mainly a magazine for white girls. Why would a white person pay good money to see herself accused of being a white supremacist?

I don’t understand this. I could see this kind of anti-white animus in Ebony but Cosmo is mainly a magazine for white girls. Why would a white person pay good money to see herself accused of being a white supremacist?

Well, if you are buying COSMO, surely that means that you are a Good White....

According to Wiki: "Dolezal told The Guardian in December 2015 that she was pregnant and expecting to deliver a son in June 2016, whom she has named Langston in honor of writer Langston Hughes." It's pretty easy to get public housing if you have no job and a kid to support. There's no mention of any husband. My suspicion is that abruptly deciding to have a kid is her way of figuring out how to support herself for the next 18 years as long as she's unemployable, or until the public forgets. Or maybe she wants to have the ultimate black female life experience, single mother on welfare, LOL. People with a serious personality disorder like Dolezal have kids as casually as picking out a pet, and for truly messed-up reasons. Her kid's going to be a basket case.

Secondly: "She has written a memoir, In Full Color, that will be published in March 2017." I looked at her book rank on Amazon. It's not the highest, but she's selling copies in advance of its publication. She's making money.

She should open a hair salon (although I suppose her secret for having Good Hair is out).

"Let’s see, what would fit the narrative….Black father, conservative, by-his-bootstraps type. His hoodie wearing son gets mowed down by White cops during a routine stop-and-frisk. To justify their crime, they plant a knife and some crack on him. After the cops are exonerated, the wife snaps. She lunges at one of the White cops and is shot dead. The next day, the Dad reads about another Black youth who was shot by the cops. He can’t take it anymore. He’s going to make the police pay….in blood…"

I like my White Nationalist nazi skinheads are terrorizing New York City Blacks scenario better. After all it is based on pure unrealistic fantasy and Hollywood is all about unrealistic fantasy.

I like my White Nationalist nazi skinheads are terrorizing New York City Blacks scenario better. After all it is based on pure unrealistic fantasy and Hollywood is all about unrealistic fantasy.

Yeah, but racist White cops are really in right now…..Maybe the White cops could also be neo-Nazi skinheads….We could have a scene where the White cops put on SS uniforms and celebrate Hitler’s birthday….instead of a cake, they ritually rape a roofied Black coed…..

Newrouter, Thank you for the link and please note two things. There is no apparent rebar in any of the concrete slabs and it should be visible at all the broken edges of the slabs. Two, note that the concrete spillway did not completely rest on bedrock, again visible where large areas of fill or dirt are washed away from the bedrock.

I agree that the lack of rebar is troubling but there’s no rule that the spillway has to be laid on bedrock. It’s not a skyscraper – it would have loads similar to a highway and these are commonly laid on a crushed stone base on top of compacted earth.

Even though THE GRADUATE conveys certain Jewish neurosis, I don't see it as anti-gentile or even anti-wasp. It's a movie about obsession, and everything at odds with Ben's obsession seems alien and hostile. Ben doesn't get along with anyone, even those who are trying to be nice to him. He shuts out everyone at the party. He shuts out his parents. He shuts out Mr. Robinson who treats him like a son. He does open up to Mrs. Robinson, and in loyalty to her, shuts out Elaine. But when his heart goes for Elaine, he shuts out Mrs. Robinson. His current obsession is the ONLY reality. And so everyone at odds with his obsession-of-the-moment becomes the 'new hitler'. He can't even stand hip young people at the hamburger joint cuz they're playing the music too loud and messing up his gab with Elaine. And Richard Dreyfus and Norman Fell, who don't look waspy, are also at odds with him. (Fell's character of McCleery is one of my all-time fav's. We need more men like to put the young ones in place. "You're not one of those agitators... I hate that. I won't stand for it." Damn boomers got rid of the McCleeries of the world.)

https://www.youtube.com/watch?v=-nJ8ea6smKQ

True, his final mission goes up against a the makeout king of a wasp fraternity, but I think even those who root for Ben know what a loon he is. What he does is insane.
Also, if there is a villain(ess) in the film, it is Mrs. Robinson, and her role isn't very waspish. She likes act Susan Sontag if she'd been relegated to being a housewife. She certainly doesn't stand for 1950s wasp repression and family values.

THE GRADUATE is something of a comedy, but its obsessions are too deep for the film to be fully comedic. Besides, if Woody Allen began in comedy and went serious later, Nichols, despite his comic background, plunged into European Art House style from the start. So, the result is like sitcom crossed with Antonioni movie, like Dick Van Dyke Show doing mock-tennis with BLOW-UP. And the emotions in THE GRADUATE have an element of sincerity(if of the mad king), and 'sounds of silence', 'april come she will', and 'scarborough fair' on the soundtrack supply the melancholy, alienation, depression.

Though considered dated by some, it still looks futuristic, like 2001: A SPACE ODYSSEY. It is like sci-fi fantasy of suburban life. And this futurism is tied closely with whiteness, something that California lost as it went for Diversity. It now looks like futurist-nostalgia.
THE GRADUATE, like AMERICAN GRAFFITI and BIG WEDNESDAY(and HAROLD AND MAUDE), is a memory trip of how California once used to be. And yet, because they are about youth facing the future, dawn of a radical new era, they are comforting and exciting at the same time. It's like returning to certainty of uncertainty.

THE GRADUATE is a key film, situated somewhere between PSYCHO -- the editing of nude Bancroft recalls shower-scene editing in the Hitchcock film(Nichols also took some pointers from Welles' THE TRIAL) -- and THE GODFATHER. (They should do a fusion movie called THE GRADFATHER where a son of a mafia boss graduates and is given advice about 'just one word... cement'.) Ben and Michael follow a similar trajectory. Both are young, out of school, and worried about their future. Difference is Michael grew up in a more strongly defined cultural setting, and he even makes 'aliyah' to Sicily. Also, an attempt was made on his father's life, and he got socked in the jaw. He also served in war. So, he got toughened up. He was able to put away childish things. In contrast, Ben had it nice and easy all his life. His parents were always there. But there was nothing particularly cultural or ethnic about the family. Ben doesn't know what he is other than a student and consumer and future professional. Also, no one tried to kill his pa. And Ben didn't have to serve in war, like Norman Mailer who was deeply marked by war. So, the film is about a man searching for meaning and finding true love through the oddest set of circumstances. We are not even sure if he's really in love with Elaine or with the emotions of a particular moment with Elaine. It may be more about how she made him at a certain moment than herself. (They don't really get to know each other like Oliver and Jenny in LOVE STORY.) It's like we're not what exactly Scotty fell in love with in VERTIGO. Love creates its own myths, and the power of myth derives from unattainable-ness. Once attained, the meaning changes or is lost ... and final scene where Ben has won Elaine has him falling back into the question of what life is all about.

THE GRADUATE is ultimately memorable for the look, mood, and music. Nichol had the right touch. Its mood-ism had big influence films such as THE SWIMMER(clumsy but nice try), HAROLD AND MAUDE, LOVE STORY, RISKY BUSINESS, SOMETHING WILD, MIDNIGHT COWBOY, ONE FLEW OVER THE CUCKOO'S NEST, and later the TWILIGHT movies(which have nothing going for them but look and mood). Some films aped THE GRADUATE, just like so many gangster or political films aped THE GODFATHER. The adaptation of Ellis novel LESS THAN ZERO is prolly the biggest copycat movie of THE GRADUATE. Doesn't work though not entirely worthless.

Nichols wasn't exactly original and copped ideas & styles from others, but he fused the right elements in right doses in the right way to create something singular. In some ways, his crafty wit even pushed him beyond the masters he admired. While Nichols couldn't have conceived of L'AVVENTURA, it's also true Antonioni couldn't have made something so artful and entertaining as THE GRADUATE even if he tried. (MIDNIGHT COWBOY is another movie that took European art-film elements for conventional narrative purposes, but such 'accusation' could overlook the fact that Schlesinger, in some respects, went beyond what the European auteurs did.) You can see it and note the references and allusions, but there never was and never has been anything quite like THE GRADUATE(with the possible exception of mood-perfect HAROLD AND MAUDE and MCCABE AND MRS MILLER). THE GRADUATE sucks you into more than a story about characters and places. We feel as if in a lucid dream. It's like 3D effect owing to Nichols' mastery of mood. Like a fish inside an aquarium.

Also, it's the little things that make the whole, and THE GRADUATE was crafted with the care of a watch-maker. The camera moves or zooms in and out, swims or sinks in perfect sync with Ben's emotions. If ever a movie captured the mood of a single character, this was it, though Hitchcock led the way with VERTIGO and PSYCHO(it's about Janet Leigh's moods up to the shower scene) and Kubrick with LOLITA. COOL HAND LUKE, another 1967 flick, was also a triumph of singular mood, in some ways all the more remarkable since it's about a man locked up with other men. Because THE GRADUATE is always about Ben's moods and hangups, the effect is rather like BEING BENJAMIN BRADDOCK, variation of Malkovich. It's like we put on scuba-gear and dove into Ben's soul like in FANTASTIC VOYAGE.

There had been movies with strong personalities and passions, but the Hollywood system insisted on a certain house style, and prior to the 60s, it was near-impossible for any director to make something truly singular, or 'different', as Braddock might say. Even a film as personal as VERTIGO has much of the Classic Hollywood look that Hitchcock had to adhere to and had grown accustomed to. It could go halfway in personalism but not fully. So, even a landmark film like REBEL WITHOUT A CAUSE or SPLENDOR IN THE GRASS looks conventional and familiar. Things really began to change in the 60s, and THE MANCHURIAN CANDIDATE was one weird movie. No movie had felt that 'off'. The difference was its sense of ease with strangeness(despite being about military men), as was the case with DR. STRANGELOVE. The weirdness wasn't recognized or targeted as the Other or Alien but part and parcel of the pervasive reality.
Because THE GRADUATE depended so much on mood, every little thing mattered. A physical-centered movie can have bunch of missteps. Raw reality can survive disruptions, like in Cassavetes films. But mood is like hypnosis, a trance. It has to be maintained without skipping a beat, and that was Nichol's great achievement from the very opening shot of the film. It was all the trickier since Ben's story has bumpy rides with sexual affairs, comic moments, and a wild chase. From the plane ride to sitting alone in the bedroom, the disaffected mood came naturally. But when Ben has to join the party, the setting changes drastically, so how is the mood maintained? Nichols keeps with the close-up of Ben amidst the guests with whom he mingles but won't yield to. The close-up is like a portrait of a turtle hiding in the shell even as it's passed around from person to person. And the deadpan responses have an element of droopy zen. Ben is odd, meditative and manic, sometimes meditative about what is manic, sometimes auto-hypnotized in manic drive. Nicholas managed to capture these consistencies and fractures, no easy feat. And he did this with sensitive attention to minute details and moments, the crucial turn of the screw that fixes the frame. (Surely, his work in comedy taught him about timing. Not just for comic effect but dramatic or poetic effect.)
Consider the moment when Ben visits Berkeley. First we have this meditative following of Ben though the campus, and then, a sudden zoom-out disrupts the calm. But the song and Ben's obliviousness to the changes of time-lapsed scenery maintain continuity of mood. Then Ben turns around and spots Elaine through the waterfall. The jolting zoom-in rattles and intensifies the mood. The very threat to the mood fuels the mood. Elaine is what holds everything in him together, she is what is tearing everything apart in him. Few films have caught so well the duality of love as the calming and tormenting force in life. A timeless theme in art, few artists of cinema mastered the technique to convey it poetically.
The most memorable example of Nichols' shuffling of trance and mania is Elaine's discovery of the affair between Ben and her mother. Ben's hectic run through the rain is dreamlike, and when the truth dawns on Elaine, her fuzzy out-of-focus image gradually crystallizes into clarity. Few uses of cinematic technique so effectively and poetically conveyed a person's state of mind. If HAL the computer had a mind of its own, Nichols' lens developed emotions of its own.
Elaine loses it and throws Ben out; the violence of the moment threatens to the break the mood, but there is Mrs. Robinson waiting in the hallway in an iconic Antonionesque image bidding farewell to Ben. Also, it was a clever move to show the closeup of Mrs. Robinson as Ben is being thrown out before returning to it again. The more conventional thing would have been to show Ben thrown out and then show Mrs. Robinson's head pressed against the wall. But fixing on Robinson's calm demeanor(of bitter defeat and victory) as Elaine's screams are heard and then returning to it(after cutting to a dejected and humiliated Ben) and finally zooming out to show the irrevocable distance between her and Ben is one of the great coup de graces of cinema.
THE GRADUATE is wonderful to watch because of many such moments. It's beyond well-crafted. It's inspired, the one time genius touched Nichols in cinema. So, people who tend to dismiss the movie because of its story or themes are missing out so many thing that make cinema so special.

https://youtu.be/MCa9vtTvQpE?t=1m34s

As for STEPFORD WIVES, that too is a multi-layered film. It can be seen as a feminist screed but also as a woman's fantasy. After all, it's the sort of movie that appeals far more to girls than to men. When my older sister was coming of age, she was obsessed about two films: CARRIE and STEPFORD WIVES. She and her friends were always talking of CARRIE even though they hadn't seen it. What it was ABOUT was enough: psycho-physical changes wrought by puberty, the politics of peer pressure. Also, because it was about an all-white environment(as with STEPFORD WIVES), it had an extra element of Euro-exocitism because we lived in the city that was, in late 70s, filled with diversity from all over the world. There were whites, but also everyone else --- Negroes, Hispanics, Asians, Arabs, Hindus, etc --- , so what seemed normal in a white suburbs seemed 'different' to those in 70s urban jungle, the kind you see in TAXI DRIVER. Later CARRIE came on TV. This was before videotapes and stuff.
STEPFORD WIVES used to play on late night TV, and my sister ate it up, and her reactions was instructive. On the one hand, she watched it as cautionary horror about imprisonment of women. But on the other hand, she was luxuriating in the beauty, luxury, and style of these Stepford ladies. Feminism may be about the sisterhood and power, but it turns women into overall-wearing harridans with no manners. But in Stepford town, women can be goddesses, dressed so fine, so beautiful, and so well-mannered. People like my sister grew up on feminism and fashion magazines. She read GONE WITH THE WIND twice in a row, and she loved that it had a strong heroine who also happened to be very feminine.
This is why the scene in DAZED AND CONFUSED is so funny. The discussion about feminism and fantasy in the girls' washroom. Linklater gets the contradictions. Women want to be 'empowered' but also to be noticed and admired. What's hilarious is even the feminist girl is so fashion-conscious... like Naomi Wolf later. She dresses just like friends who try to look sexy. She complains about the sexual-stereotyping of women, but her view of men is hardly any more enlightened: 'geek, fat over aged guy', nerdy scientist...'. She sounds like she wants stepford men.

https://youtu.be/MbRhuUtKHV4?t=47s

STEPFORD WIVES came out when overall-and-hanky-on-head feminism was all around. But then, feminism changed into corporate harlots wearing fancy stuff and shameless rise of sex goddess and slut culture. The wild success of TWILIGHT shows that lots of young girls want to become stepford vamps to be gorgeous forever.

I don't understand this. I could see this kind of anti-white animus in Ebony but Cosmo is mainly a magazine for white girls. Why would a white person pay good money to see herself accused of being a white supremacist?

I don’t understand this. I could see this kind of anti-white animus in Ebony but Cosmo is mainly a magazine for white girls. Why would a white person pay good money to see herself accused of being a white supremacist?

Well, if you are buying COSMO, surely that means that you are a Good White….

One of the advisors to Pharaoh in The Prince of Egypt is named Hotep.
"Hotep" is a commonly used greeting in Afrocentric circles.[6][7]

Taken from https://infogalactic.com/info/Hotep#In_popular_culture

Hoteps are black guys from the "we waz kangz" world who got off the "hate whitey" train at some point. Hotep guys are basically black nationalists who usually don't have much of a problem with the idea of separation between blacks and whites. They're just not that angry at whites. They'd rather focus on black self-improvement. Hoteps don't like the BLM translesbo takeover of black nationalism and BLM hates them back.

Thanks for the explanation. Seen it on Twitter but never really got it. Armed with that, I found some great material…

He said the Black woman’s body is made for sex. That’s why the universe gave me thick thighs & a fat ass.

Netflix and chill is more like documentaries and chill. You might think this brotha is running typical game when he invites you over to watch Netflix, but instead of turning on a RomCom with suggestive sex scenes, he puts on Henry Louis Gates specials or YouTube videos from Dr. Umar Johnson and quizzes you about what you learned after.

Why are Hoteps always coming for black people?
Many times it is a defensive response to the many attacks received but for the most part, it is tough love. The Hoteps want to see better for their black cousins and believe in their potential. It’s like a parent’s criticism of a child who will not push to reach their potential but instead chooses a path of excuses and complacency.

Hotep Twitter is the home of the #StayWoke crowd of men who claim to represent the roots of Africa or whatever…but deep down they display misogynist and homophobic traits. Their statuses make little sense and usually offend more than help. If you’ve never come in contact with one of these Hotep men, consider yourself lucky. Just make sure that you stay aware so you can run for help when they appear. Keep your eye on the Hoteps and #StayWoke.

After WWII Britain was bankrupt. It could no longer afford the British Empire. However, the British desperately tried to keep a resemblance of an empire together masked as the British Commonwealth of Nations ... kind of a British-run United Nations.

To convince the newly freed colonies and territories to join the Commonwealth, the British for a time offered the ex-colonials British passports and work permits. "We're really all British, you know ...." This is how the Caribbean Blacks and Pakistanis make it to the British Isles. They were invited, much as the Hispanics were invited by the United States through a decades-long suspension of US immigration laws.

Or as genuine refugees, fleeing authentic Black Muslim racism in the jovial tubby form of the Last King of Scotland, Idi Amin Dada. Before their heads ended up in the presidential refrigerator.
Of all the blow-ins since WWII, apart from the Ghurkhas, bless ‘em, the Ugandan Asians (various flavours of Indians, to you and me) have been the least obnoxious. Apart from that insufferable racist cow, Yam-tits Alibi-Brown. But I suppose it’s the only job she’s capable of holding down. Village gobshite, By Royal Appointment.

Damji ran an art gallery in Manhattan and East Hampton. At that time, she rented an apartment for herself. She gave the landlord a cheque she had received for $20, which she had altered to $20,000; when the cheque bounced, the landlord obtained an eviction order and seized her belongings. Damji then forged the signature of the judge assigned to the case and amended the order so that she could get her belongings back.

Get Out is clearly modeled on the funny scene in Woody Allen’s Oscar-winning Annie Hall where Alvy Singer has an Easter ham with Annie’s ultra-WASP family. Soon Alvy is imagining his hosts imagining him as a bearded Orthodox rabbi. Catherine Keener plays the girlfriend’s mother in Get Out, perhaps because she’s a dead ringer for Annie’s mother, while Caleb Landry Jones re-creates Christopher Walken’s role in Annie Hall as the creepy brother.

Of course, Alvy didn’t ultimately slaughter Annie and her entire family as racial revenge. The anti-gentilic movies of the late 1960s and the 1970s that Get Out is drawing upon, such as The Graduate and The Stepford Wives, generally stuck to comedy, or at least offered metaphors to cover up their underlying ethnic hostility.

Nicely spotted, Steve. Of course, lots of critics have pointed out the thematic overlap with stuff like The Stepford Wives and Rosemary's Baby, but it takes Steve Sailer to notice the anti-WASP angle......And, yes, it is quite interesting how the film makes sure that the evil Whites are very clearly WASP, with no kinda/sorta Jews in the mix. After all, we wouldn't want Blacks to start thinking unkind thoughts about Jews.....

cherchez la femme: And I also suspect that Jordan Peele wouldn't want to offend Chelsea Peretti*, his real-life Italian-Jewish wife, so the wife in the film is played by the uber-WASPy Allison Williams.....which, I suppose, makes the violence directed against her character OK:

**

Rose [Allison Williams], now armed with a rifle, and Walter catch up with Chris. Walter, whom Rose refers to as "grandpa", tackles Chris, who grabs his cell phone and takes a photo of Walter with the flash on. Now free from his hypnosis, Walter asks Rose to hand him her rifle so he can kill Chris. When she does, he shoots her and then himself. Chris then moves over top of Rose and begins to strangle her when a police car pulls up. Rose cries out for help, hoping that Chris will be seen as the attacker, but the police car turns out to be driven by Rod, who used his TSA resources to locate Chris. The two drive away as Rose succumbs to her wound on the side of the road.

Remember kids, brutal, misogynistic violence against women is perfectly acceptable.... provided that it's a Black man dishing it out on a WASP....

*

Peretti was born and raised in Oakland, California,[4] the daughter of an Italian American father and Jewish mother.[5][6] Her older brother is internet entrepreneur Jonah Peretti, who founded BuzzFeed and co-founded The Huffington Post.

https://en.wikipedia.org/wiki/Chelsea_Peretti

**https://en.wikipedia.org/wiki/Get_Out_(film)

Jonah Peretti’s wife is half-Chinese. The sequel will be about black/Asian/Jews against WASPs.

According to Wiki: "Dolezal told The Guardian in December 2015 that she was pregnant and expecting to deliver a son in June 2016, whom she has named Langston in honor of writer Langston Hughes." It's pretty easy to get public housing if you have no job and a kid to support. There's no mention of any husband. My suspicion is that abruptly deciding to have a kid is her way of figuring out how to support herself for the next 18 years as long as she's unemployable, or until the public forgets. Or maybe she wants to have the ultimate black female life experience, single mother on welfare, LOL. People with a serious personality disorder like Dolezal have kids as casually as picking out a pet, and for truly messed-up reasons. Her kid's going to be a basket case.

Secondly: "She has written a memoir, In Full Color, that will be published in March 2017." I looked at her book rank on Amazon. It's not the highest, but she's selling copies in advance of its publication. She's making money.

Anon, Hmmmm, unwed and pregnant, living in public housing and on an EBT card, so she is broke but book sale money coming in. I smell a welfare fraud case in the near future which will actually will give Miss D some cred in the hood.

"Anon, Hmmmm, unwed and pregnant, living in public housing and on an EBT card, so she is broke but book sale money coming in. I smell a welfare fraud case in the near future which will actually will give Miss D some cred in the hood."

There is ghetto hoodrat public housing a.k.a the projects in lily White Spokane, Washington? Does Rachel still live in Spokane?

Anon, Hmmmm, unwed and pregnant, living in public housing and on an EBT card, so she is broke but book sale money coming in. I smell a welfare fraud case in the near future which will actually will give Miss D some cred in the hood.

“Anon, Hmmmm, unwed and pregnant, living in public housing and on an EBT card, so she is broke but book sale money coming in. I smell a welfare fraud case in the near future which will actually will give Miss D some cred in the hood.”